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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I am Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we've reached a milestone. It is our two hundredth film selection.

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Speaker 3: Rob did just have to correct me before we started here.

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Speaker 3: I was going to say it was a two hundredth episode.

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Speaker 3: It is not, because we had a couple of films

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Speaker 3: that went more than one episode, or multiple films crammed

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Speaker 3: into a single episode. But this is going to be

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Speaker 3: our two hundredth one, and we're keeping with a theme

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Speaker 3: we established last week where we looked at a film

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Speaker 3: for our one hundred and ninety ninth film selection. We

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Speaker 3: did a film set in the year nineteen ninety nine.

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Speaker 3: That was the cyberslop movie Virtuosity, starring Denzel Washington and

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Speaker 3: Russell Crowe. Today we decided to stick with that into

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Speaker 3: a movie I guess not set in the year two

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Speaker 3: two thousand, but that came out in the year two

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Speaker 3: thousand and that is so the year two thousand in

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Speaker 3: film in so many ways. And that is the movie

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Speaker 3: Dungeons and Dragons not the one from twenty twenty four,

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Speaker 3: the old one, the one with Jeremy Irons, Thora Birch,

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Speaker 3: Justin Whalen, Marlon Wayans, and Bruce Payne. What a cosmic

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Speaker 3: adventure into nostalgia and the mind this was. And we're

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Speaker 3: not gonna lie to you. It's not good, but it

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Speaker 3: is a good time.

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Speaker 2: Yeah, I want to Some of you may have follow

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Speaker 2: up questions too. You might ask, well, how about some

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Speaker 2: of those films that the listeners suggested for the two

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Speaker 2: hundred we I think we'll get back to some of

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Speaker 2: those suggestions in later episodes, but I don't know. For

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Speaker 2: my part, I begin to just feel like, oh man,

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Speaker 2: it's so much pressure to figure out, like what is

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Speaker 2: like the weird movie to do for two hundred, and

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Speaker 2: falling back on the idea of like two hundred two

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Speaker 2: thousand just felt a little It felt a little easier

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Speaker 2: when it came to the decision making process. And another

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Speaker 2: question you might be wondering, perhaps cowering a little bit

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Speaker 2: in fear, are we going to do the next twenty

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Speaker 2: five episodes of Weird House Cinema related to the subsequent years.

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Speaker 2: I'm gonna say definitely not. I don't think we could

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Speaker 2: keep that up. I mean, we'll see what happens next week,

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Speaker 2: but it's definitely not going to be the next twenty

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Speaker 2: five episodes.

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Speaker 3: Well next week we could do two thousand and one

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Speaker 3: of Space Odyssey and keep going.

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Speaker 2: Yeah, oh that's true. Yeah, though I don't know.

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Speaker 3: I think that's more in our category of a reference

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Speaker 3: text rather than subject text.

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Speaker 2: But we did do a core episode of stuff to

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Speaker 2: blow your mind on two thousand and one of Space Odyssey,

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Speaker 2: so there is some Space Odyssey in the vault.

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Speaker 3: Now, obviously we're gonna have a lot to say about

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Speaker 3: Dungeons and Dragons as a movie, but I think we

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Speaker 3: also need to appreciate right here at the top that,

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Speaker 3: of course it is an adaptation of the tabletop gaming

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Speaker 3: system Dungeons and Dragons. So Rob, maybe we got to

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Speaker 3: start just by talking about that, like you're a little

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Speaker 3: bit of the short, short version of your personal history

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Speaker 3: with D and D, because I know we could both

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Speaker 3: go into a lot of detail here.

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Speaker 2: So yeah, first of all, just a remind Dungeons and Dragons,

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Speaker 2: which dates back to the mid nineteen seventies, is a

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Speaker 2: role playing game. It is I often try to explain

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Speaker 2: it to people who aren't that familiar with it as

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Speaker 2: kind of a communal storytelling game where you have a

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Speaker 2: dungeon master running the game, you have players playing characters

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Speaker 2: within that game. The dungeon master is running things and

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Speaker 2: is the final say on the rules, but the players

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Speaker 2: are also contributing creatively to it. They are not being

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Speaker 2: told a story. Everyone is collaborating on the story together,

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Speaker 2: and it's just a tremendous amount of fun. If you've

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Speaker 2: never played Dungeons and Dragons before, or some similar role

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Speaker 2: playing game, I highly recommend it. It is a great social,

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Speaker 2: creative hobby and pastime that is also connected to any

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Speaker 2: number of additional solo hobbies and past times. It's something

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Speaker 2: that has brought a lot of joy into my life.

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Speaker 3: Collaborative storytelling is a good way to put it for

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Speaker 3: people who aren't familiar. Imagine that essentially, the engine master

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Speaker 3: creates the setting in scenario, and you create a character

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Speaker 3: within that setting in scenario. You say what your character

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Speaker 3: in particular does in reaction to that setting and scenario

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Speaker 3: created by the dungeon master. They tell you what happens

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Speaker 3: in return, and you go back and forth.

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Speaker 2: Yeah, yeah, so my don't I don't remember exactly when

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Speaker 2: I first started getting into it. I definitely had watched

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Speaker 2: the old nineteen eighty three cartoon at one point, but

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Speaker 2: that didn't like really pull me in all the way.

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Speaker 2: It wasn't until I was in Boy Scouts and I

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Speaker 2: observed some of the older Scouts playing Dungeons and Dragons.

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Speaker 2: The Dungeon Master kid was using his father's like pre

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Speaker 2: Satanic panic, like full demon monster supplements, and it was

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Speaker 2: just it looked like a lot of fun. So I

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Speaker 2: started getting into it, and I by the you know,

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Speaker 2: by the mid nineties, I was all into Forgotten Realms,

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Speaker 2: Raven loved Kara Tour, Dark Sun, Spell Jammer, all these

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Speaker 2: different worlds and subsettings within Dungeons and Dragons. I probably

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Speaker 2: read more than I played, but it was still a blast.

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Speaker 2: But then around the turn of the millennium, when this

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Speaker 2: film comes out, I went to college and for idiotically

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Speaker 2: didn't do any non video game D and D stuff

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Speaker 2: for more than a decade. So today's movie drops at

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Speaker 2: a time in which I was weirdly disinterested and out

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Speaker 2: of touch with all things D and D. I think

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Speaker 2: my main memory of the trailer was that, oh, it

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Speaker 2: looks like it has Jeremy Irons in it, but at

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Speaker 2: the same time I was at least slightly disappointed that

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Speaker 2: he appeared to not have a wizard beard or wizard hair.

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Speaker 3: That's true, you know. I was trying to We'll talk

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Speaker 3: more about this as we go on, but I was

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Speaker 3: trying to class all the characters in the movie. I

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Speaker 3: was saying, Okay, what D and D class are you?

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Speaker 3: Because when you play the game, you pick a character

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Speaker 3: class that tells you, like what kind of skills and

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Speaker 3: powers you have. You could be a barbarian or a fighter,

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Speaker 3: or a cleric or a wizard. And I was like, man,

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Speaker 3: Jeremy Irons doesn't feel like a wizard because he doesn't

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Speaker 3: look like a wizard. He looks it looks like a warlock.

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Speaker 3: Maybe what do you think.

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Speaker 2: Yeah, yeah, maybe more of a warlock.

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Speaker 3: Look, I mean they never mentioned a packed patron or anything.

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Speaker 2: But yeah, And I don't know one I don't know

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Speaker 2: one hundred percent why it bugged me at the time,

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Speaker 2: because I'm not really bugged by it now. But I

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Speaker 2: think a big part of it was and I was

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Speaker 2: having to like piece together where things fell in the timeline.

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Speaker 2: I think part of it was that by April of

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Speaker 2: two thousand. Today's movie came out in like December of

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Speaker 2: two thousand. By April of two thousand, we already had

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Speaker 2: a trailer featurette for Peter Jackson's Fellowship of the Ring,

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Speaker 2: which would come out December two thousand and one, so

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Speaker 2: we already had a visual taste of what was possible

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Speaker 2: with live action high fantasy, and even from the trailers,

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Speaker 2: it was obvious that two thousands Dungeons and Dragons was

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Speaker 2: quite obviously missing the mark God.

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Speaker 3: That contrast is crazy to imagine that this was almost

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Speaker 3: like overlapping in time and that we're gonna try not

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Speaker 3: to just like be mean or rag on the movie

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Speaker 3: the whole time. But yeah, the comparison is so funny.

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Speaker 3: It's like imagining that trailers for The Matrix were already

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Speaker 3: out when lawnmower Man was in theaters.

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Speaker 2: You know, Yeah, I mean, it's it's really not fair

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Speaker 2: because we're again we're talking about Lord of the Rings here,

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Speaker 2: one of and arguably the most important texts in modern

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Speaker 2: fantasy literature. It served as one of the one of

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Speaker 2: the primary inspirations for Dungeons and Dragons in general, and furthermore,

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Speaker 2: Peter Jackson's adaptations. No matter what your quipples might be

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Speaker 2: about the finished product, they were jaw dropping cinematic spectacles

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Speaker 2: that pushed the technological envelope, that energized fans and generated mainstream,

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Speaker 2: popular and critical success. So it's unfair to compare this

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Speaker 2: smaller picture that had I think, when all was said

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Speaker 2: and done, like half the budget. So but not that

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Speaker 2: small of a budget. You know, it is never going

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Speaker 2: to live up to what Fellowship of the Ring was

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Speaker 2: able to achieve.

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Speaker 3: You know, something I was just thinking about recently with

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Speaker 3: the Peter's Jackson Lord of the Rings movies is I

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Speaker 3: don't know if they often get enough credit for how

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Speaker 3: good of a job they did simply from a writing

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Speaker 3: point of view adapting the material. We can have our

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Speaker 3: complaints about, like oh, I wish Tom Bombadill had been

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Speaker 3: in there. You know, I don't like that they didn't

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Speaker 3: include this, or that they made this moment like, you know,

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Speaker 3: there were changes introduced, and a lot of times purists

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Speaker 3: can be upset by that. But I think they really

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Speaker 3: did a kind of impossible task of cramming as much

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Speaker 3: of the spirit of the story into film into reasonable

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Speaker 3: I mean long but still reasonable film. Run times as possible.

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Speaker 3: It really, I think, is a marvelous achievement of adaptation writing. Yeah.

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Speaker 2: Absolutely, Again, it's just unfair to compare virtually anything, especially

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Speaker 2: this film, to Fellowship of the Rings and the subsequent

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Speaker 2: Peter Jackson Lord of the Rings films. They just succeeded

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Speaker 2: in so many ways.

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Speaker 3: But while we're on the subject of the differences between

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Speaker 3: Fellowship with the Ring and Dungeons and Dragons as movies

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Speaker 3: from around the same time, one big difference is that,

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Speaker 3: of course, Fellowship of the Ring is an adaptation of

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Speaker 3: a book. It's an adaptation of something that is already

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Speaker 3: a fixed narrative, which is like a you know, it's

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Speaker 3: a more familiar way of making a movie from existing

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Speaker 3: source material. The Dungeons and Dragons movie had a very

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Speaker 3: different kind of writing assignment, which is that it was

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Speaker 3: to adapt a game system or sort of a world.

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Speaker 3: There is no fixed narrative of Dungeons Dungeons and Dragons.

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Speaker 3: I think there are some like you know, pre written

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Speaker 3: campaigns that exist out there. Rob you can probably shed

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Speaker 3: more light on that, and there may be some like common,

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Speaker 3: commonly accepted sort of history things in the Dungeons and

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Speaker 3: Dragons world, But there's no fixed narrative like there is

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Speaker 3: in a book. Players make up their own stories. So

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Speaker 3: what your job is if you're adapting this into a

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Speaker 3: movie is you have to kind of make up a

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Speaker 3: story that packs in a lot of details about what

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Speaker 3: it's like to play the game and captures feelings of

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Speaker 3: common experiences that players have when they're playing with their friends.

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Speaker 2: Does that make sense, Yeah, yeah, try it. You have

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Speaker 2: to attempt to try and nail the vibe of the

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Speaker 2: D and D world and the vibe of playing D

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Speaker 2: and D at the same time, which, to be clear,

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Speaker 2: are often in stark opposition to each other. You may

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Speaker 2: have like a really like very serious and even dark

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Speaker 2: set of events happening within the story of the game,

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Speaker 2: but yet a gaming session of Dungeons and Dragons might

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Speaker 2: be just full of goof off moments and laughter and

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Speaker 2: so forth, and yet they can still work together at

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Speaker 2: the table in a way that might be more of

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Speaker 2: a struggle thematically with a motion picture. I would argue

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Speaker 2: that twenty twenty three's Dungeons and Dragons Honor among Thieves,

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Speaker 2: the most recent Dungeons and Dragons film, did more of

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Speaker 2: a commendable job of pulling this off and watching today's movie,

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Speaker 2: it'd be easier to momentarily put that aside if they

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Speaker 2: didn't actually say honor among thieves multiple times in the dialogue.

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Speaker 3: But they didn't know that was gonna sub title of

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Speaker 3: the later movie.

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Speaker 2: They didn't know, but it's impossible to avoid. But but no,

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Speaker 2: you're right, it's like they're they're adapting a vibe. They're

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Speaker 2: adapting ip a world or multiple worlds and various creatures

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Speaker 2: within that world, but they're not leaning on like a

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Speaker 2: core text. But to be clear, even by nineteen ninety

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Speaker 2: and certainly by the year two thousand, there were plenty

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Speaker 2: of Dungeons and Dragons novelizations out there. I mean, they're

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Speaker 2: like a million Dragon Lance novels, So there was some

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Speaker 2: material out there that could have leaned on, though you know,

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Speaker 2: I don't I don't know, I haven't read most of

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Speaker 2: those books. Not everything is you know, reasonable for adaptation

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Speaker 2: and so forth, But you know, there were, there were,

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Speaker 2: and are plenty of Dungeons and Dragons stories one could

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Speaker 2: could go to for things like this.

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Speaker 3: But one thing that makes those stories different is they're

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Speaker 3: almost like they're reading a story that someone has created

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Speaker 3: within the framework of the D and D world, but

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Speaker 3: they're not cannon for all players of D.

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Speaker 2: And D, right, right, Like any given person's favorite moment

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Speaker 2: from Dungeons and Dragons is going to be a little

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Speaker 2: different from everyone else's moment if you're just talking about

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Speaker 2: the tabletop experience.

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Speaker 3: Yeah, So, as you said, this is something that the

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Speaker 3: more recent D and D movie did a lot of.

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Speaker 3: You could tell there were a lot of in jokes

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Speaker 3: in the movie. And I still think the more recent

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Speaker 3: movie works pretty well. I mean, I don't know, I

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Speaker 3: have played D and D, but I can imagine it

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Speaker 3: still works pretty well as a film even if you've

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Speaker 3: never played it. But there are just a lot of

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Speaker 3: little treats in there for players because it will have

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Speaker 3: the characters in the movie getting into a situation that

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Speaker 3: players commonly find themselves in. And it's funny, too funny

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Speaker 3: to recognize, like, oh, I can't speak with dead and

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Speaker 3: I still have this many questions I can ask and

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Speaker 3: we've already got the information we need, you know, and

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Speaker 3: that sort of thing over and over.

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Speaker 2: Yeah, And also I think the other thing that the

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Speaker 2: more recent film did well is that it had it

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Speaker 2: did have canonical figures that one could leave the film

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Speaker 2: and say, hey, I want to know about about that

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Speaker 2: Lich guy. I want to know more about these Red Wizards,

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Speaker 2: and there is material out there you can read about them.

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Speaker 2: They are part of a setting. This movie doesn't really,

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Speaker 2: I think, do much of that. You might say, oh,

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Speaker 2: that's a neat beholder I just saw float by. I'd

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Speaker 2: like to know more about those guys. Well, there's plenty more.

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Speaker 3: But it doesn't really do much with the beholders. Doesn't

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Speaker 3: You briefly see one as a purple blob that flies

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Speaker 3: off screen and then I'm like, Oh, we're gonna come

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Speaker 3: back for a beholder fight.

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Speaker 2: Nope, Nope, nope. They're basically screen savers.

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Speaker 3: But anyway, as I was saying, the more recent D

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Speaker 3: and D movie does a lot of that, I think

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Speaker 3: this older movie does a little bit of that. There's

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Speaker 3: a little bit of nodding towards kind of common player experiences,

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Speaker 3: but a lot less. It feels more like they were

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Speaker 3: just trying to create a story roughly within the D

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Speaker 3: and D universe.

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Speaker 2: Yeah, now I should say some nice things about this film,

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Speaker 2: I think, yeah, yeah, I think it has some excellent locations,

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Speaker 2: including the sedl Ossuary in the Czech Republic. Also, I

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Speaker 2: think that the Czech Republic State Opera House is used

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Speaker 2: as a location at one point, and multiple other Czech

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Speaker 2: locations that look really cool, and they make good use

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Speaker 2: of them.

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Speaker 3: Gorgeous interior locations in fact, that are a quite ludicrous

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Speaker 3: contrast to like it'll cut from there to a like

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Speaker 3: CGI dungeon. It is just you could not imagine something

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Speaker 3: more like uglier and more dingy looking.

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Speaker 2: Yes, the CGI is all horrendous, but I should also

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Speaker 2: point out there are some nice practical sets as well.

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Speaker 2: There's that the Eye Room and the labyrinth. The Evil

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Speaker 2: Layer is really nice. So there's also like anything that's

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Speaker 2: not CGI in this film has at least a reasonable

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Speaker 2: shot at looking okay.

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Speaker 3: There there is at one point, it's toward the end

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Speaker 3: of the movie. I wish it had come earlier, a

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Speaker 3: quite lovely hand painted backdrop for like a like a

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Speaker 3: mad effect when they go to when they go to

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Speaker 3: like the Thomas Kincaid Lothlaurian you know, yeah, yeah, but

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Speaker 3: it's it's like very pretty yeah yeah.

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Speaker 2: So, I mean, the practical stuff works pretty well for

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Speaker 2: the most part, and then of course we have the performances.

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Speaker 2: There are some definite duds in there, but who there

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Speaker 2: are some there are some really fun performances to be

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Speaker 2: hold on top of everything.

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Speaker 3: Yeah, we'll have to talk about that. And speaking of

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Speaker 3: continuing themes from last week, a list actors getting in

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Speaker 3: a B movie and just giving it everything they've got

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Speaker 3: or maybe more than they've got actually, So, Rob, what's

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Speaker 3: your elevator pitch? First?

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Speaker 2: D The main thing I came up with complete a

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Speaker 2: D and D movie before Y two K. Wh Yeah,

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Speaker 2: it comes out after Y two K, but you know

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Speaker 2: they're filming it in nineteen ninety nine, and and also

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Speaker 2: it comes at it's the end of a long journey

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Speaker 2: to make a Dungeons and Dragons motion picture. And I'll

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Speaker 2: get into some of those details when we talk about

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Speaker 2: the director.

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Speaker 3: I think they had to roll a twelve or above

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Speaker 3: to achieve that goal, and they rolled a twelve.

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Speaker 2: Yeah, yeah, at one point I think they rolled one

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Speaker 2: and then they realized they did have inspiration and they

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Speaker 2: were able to take that back nice. All right, let's

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Speaker 2: listen to a little bit of the Trayler audio here,

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Speaker 2: and hopefully you'll get to hear Jeremy Irons a little

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Speaker 2: bit in there as well.

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Speaker 4: Yeah, in a faraway world.

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Speaker 2: All people deserve to be free and equal.

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Speaker 4: The child is not fit to govern an empire.

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Speaker 3: The forces of darkness.

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Speaker 4: You can control dragons for the dragon arm in my command.

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Speaker 4: I can crush the empress. This has gotta be some

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Speaker 4: twisted magic experiment. Seriously wrong. Have threatened to conquer a kingdom?

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Speaker 2: What can I do to stop porfire? If you could

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Speaker 2: obtained a rod of Chevrial, you could control read dragons.

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Speaker 3: I just we lay low that the whole thing blow.

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Speaker 4: Come back, rob everybody.

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Speaker 3: There's one small problem problem. I kind of committed us

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Speaker 3: to find it. Trust me.

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Speaker 4: When you say that, now it's your time to die.

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Speaker 4: Dungeons and Dragons.

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Speaker 3: You want to do? You?

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Speaker 2: All right? Now? Dragons against us? All right? If you

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Speaker 2: want to watch Dungeons and Dragons for yourself, you can

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Speaker 2: find this one in multiple formats, including some free streaming services.

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Speaker 2: That's where I watched this film. You can find it

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Speaker 2: on your your Plex and your two b's if those

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Speaker 2: are options for you.

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Speaker 4: Uh.

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Speaker 2: There also there also have been different DVD and Blu

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Speaker 2: Ray releases, including Dungeons and Dragons two movie collection on

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Speaker 2: Blu Ray. That's if you want to be clear, you're

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Speaker 2: not getting the more recent Dungeons and Dragons adaptation in there,

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Speaker 2: you're getting one of the crappy sequels to this film,

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Speaker 2: So bye with caution.

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Speaker 3: Did any actors from this movie come back in that one?

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Speaker 2: Bruce Payne, just Bruce Payne. He came back at least

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Speaker 2: for the initial sequel. I don't know who if anyone

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Speaker 2: came back for part three. I don't know if anyone's

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Speaker 2: seen Part three.

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Speaker 3: All right, let's talk about the connections.

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Speaker 2: All right. We're going to start at the top with

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Speaker 2: director producer Courtney Solomon born nineteen seventy. So to be clear,

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Speaker 2: there had been previous attempts to officially capitalize on D

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Speaker 2: and D's popularity as a film going back to the

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Speaker 2: early eighties, but nothing came together until around nineteen ninety.

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Speaker 2: That is when then nineteen year old Courtney Solomon with

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Speaker 2: basically only a passion for Dungeons and Dragons, some family

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Speaker 2: background I think on his on mother's side in Canadian

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Speaker 2: TV production, and also we should we should, we should

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Speaker 2: realize there's probably a natural twenty charisma role in here.

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Speaker 2: Because he managed to convince TSR, the parent company of

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Speaker 2: dn DA at the time, to give him a shot

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Speaker 2: at producing the thing.

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Speaker 3: Had he made a movie at this point.

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Speaker 2: No, he had not, as far as I can tell, No,

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Speaker 2: nothing like that had occurred. So yeah, we may rag

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Speaker 2: on this film a little bit in this episode, but man,

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Speaker 2: that was roughly my age when this movie came out,

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Speaker 2: and looking back at myself, I was barely capable of

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Speaker 2: any level of adulting, you know. Solomon, however, at nineteen

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00:20:13,880 --> 00:20:17,400
Speaker 2: and in subsequent years, won over TSR and then traveled

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Speaker 2: around the world seeking financial backers and scored one in

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Speaker 2: Hong Kong business magnate Alan Zamon. And so by the

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00:20:26,280 --> 00:20:30,359
Speaker 2: mid nineties, the plan, with Solomon as producer was to

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Speaker 2: do this up as one hundred million dollar production with

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Speaker 2: a big director.

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Speaker 3: One hundred million dollars in the in the nineties.

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Speaker 2: Yeah like that. I mean, you know, you're talking about

385
00:20:41,680 --> 00:20:44,359
Speaker 2: Fellowship of the Ring range in terms of your budget.

386
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Speaker 2: But of course that's you know, years later. So yeah,

387
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Speaker 2: they were talking about having the likes of Francis Ford

388
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Speaker 2: Coppola or James Cameron produced. I think Stan Winston was

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Speaker 2: also attached at one point, but as often occurs in Hollywood,

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Speaker 2: plans changed.

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Speaker 3: Coming hot off of pump Head, I shall make the

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Speaker 3: D and D movie.

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Speaker 2: Wow, imagine what the effects would have looked like though there.

394
00:21:06,480 --> 00:21:08,200
Speaker 2: You would have gotten a good beholder in that one.

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Speaker 3: I want to see that Francis Ford Coppola version. Would

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Speaker 3: it have had al Pacino in it?

397
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Speaker 2: Oh? Yeah, Oh that would have been a different That

398
00:21:17,800 --> 00:21:20,359
Speaker 2: would have been a different evil Mage villain, wouldn't it.

399
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Speaker 3: Oh, my lord, imagine wizard, Yes, evil wizard al Pacino.

400
00:21:24,680 --> 00:21:26,760
Speaker 3: He's like like he is in heat, you know with the.

401
00:21:28,600 --> 00:21:31,600
Speaker 2: We joked, But I don't know, there's there. I can

402
00:21:31,760 --> 00:21:34,359
Speaker 2: see a version of this film that would have worked

403
00:21:34,359 --> 00:21:36,160
Speaker 2: with al Pacino, but I don't know, and we never

404
00:21:36,200 --> 00:21:40,280
Speaker 2: got to have it, so, uh, plans changed. Hollywood producer

405
00:21:40,359 --> 00:21:43,080
Speaker 2: Joel Silver came on board. There was talk at one

406
00:21:43,080 --> 00:21:45,800
Speaker 2: point of doing it as a TV series instead. This

407
00:21:46,000 --> 00:21:49,399
Speaker 2: was the natural one that I mentioned earlier. Then, No,

408
00:21:49,480 --> 00:21:51,240
Speaker 2: I guess the natural one was when they were considering

409
00:21:51,280 --> 00:21:54,680
Speaker 2: doing a low budget direct a video project. But they

410
00:21:54,680 --> 00:21:56,800
Speaker 2: were able to push through and get things back up

411
00:21:56,800 --> 00:21:59,280
Speaker 2: to a thirty to thirty five million dollar budget, and

412
00:21:59,359 --> 00:22:01,960
Speaker 2: at this point was clear Solomon himself was going to

413
00:22:02,040 --> 00:22:05,560
Speaker 2: have to direct it again. This was his first directorial gig,

414
00:22:07,600 --> 00:22:09,200
Speaker 2: but he did it. He pulled it off.

415
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Speaker 3: It's like the artifact has attuned to you and you alone.

416
00:22:12,800 --> 00:22:14,280
Speaker 3: You're the only one.

417
00:22:14,480 --> 00:22:16,359
Speaker 2: You are the only one who can wield it. You

418
00:22:16,440 --> 00:22:20,880
Speaker 2: were the chosen one, and so he did. Now as

419
00:22:20,880 --> 00:22:22,800
Speaker 2: a director, he followed this up with two thousand and

420
00:22:22,840 --> 00:22:25,720
Speaker 2: fives in American Haunting and twenty thirteen's get Away, but

421
00:22:25,800 --> 00:22:28,520
Speaker 2: It's mostly remained active as a producer on such films

422
00:22:28,560 --> 00:22:32,240
Speaker 2: as two thousand and nine's Universal Soldier Regeneration, twenty twelve's

423
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Speaker 2: Universal Soldier Day of Reckoning, twenty sixteen's Mister Church the

424
00:22:37,040 --> 00:22:39,840
Speaker 2: Strangers Chapter one from recent years, and I think there's

425
00:22:39,880 --> 00:22:41,879
Speaker 2: some sequels on the way, and he's listed as a

426
00:22:41,920 --> 00:22:44,119
Speaker 2: producer on an upcoming red Sonja film.

427
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Speaker 3: Well, despite the criticisms I've already made, I do want

428
00:22:47,160 --> 00:22:50,080
Speaker 3: to say this story makes it even more impressive that

429
00:22:50,160 --> 00:22:53,359
Speaker 3: this film got made and is as fun as it is.

430
00:22:53,400 --> 00:22:56,520
Speaker 3: I mean, it's bad, but you're not going to be bored,

431
00:22:56,640 --> 00:22:59,760
Speaker 3: I think when you watch this movie. So yeah, hats

432
00:22:59,760 --> 00:23:02,240
Speaker 3: offt Courtney Solomon, and I do want to echo what

433
00:23:02,280 --> 00:23:04,359
Speaker 3: you said earlier. We may rag on this film, but

434
00:23:04,400 --> 00:23:05,359
Speaker 3: we rag with love.

435
00:23:05,680 --> 00:23:08,080
Speaker 2: Yeah. Yeah, we've said before it's a miracle that any

436
00:23:08,080 --> 00:23:11,800
Speaker 2: film gets finished, and you know, kudos to him for

437
00:23:12,200 --> 00:23:15,080
Speaker 2: bringing this one home. Now the writing credits, there are

438
00:23:15,119 --> 00:23:23,040
Speaker 2: two credited writers Topper, Lillian and Carol Cartwright. Lillian screenwriter

439
00:23:23,080 --> 00:23:24,639
Speaker 2: and director who also had a small part in the

440
00:23:25,080 --> 00:23:30,359
Speaker 2: Conehead movie nineteen ninety three's Coneheads, and then Carol Cartwright

441
00:23:31,160 --> 00:23:33,439
Speaker 2: was also one of the writers on twenty twenty two's

442
00:23:33,560 --> 00:23:36,800
Speaker 2: Missus Harris Goes to Paris, which was well received and

443
00:23:36,840 --> 00:23:40,080
Speaker 2: even earned her and her co writers an Australian Writers

444
00:23:40,080 --> 00:23:41,600
Speaker 2: Guild Award. Oh cool.

445
00:23:42,080 --> 00:23:44,960
Speaker 3: As for the Coneheads connection, I don't know how I knew,

446
00:23:44,960 --> 00:23:47,360
Speaker 3: but I felt a little bit of Conehead's juice on.

447
00:23:47,359 --> 00:23:50,520
Speaker 2: This, Like, I don't think they were involved with writing

448
00:23:50,520 --> 00:23:53,200
Speaker 2: it at all, but they showed. They're credited as showing

449
00:23:53,280 --> 00:23:54,919
Speaker 2: up as one of the pilots in the code, and

450
00:23:54,920 --> 00:23:57,240
Speaker 2: it could be an IMDb error, but I'm going to

451
00:23:57,280 --> 00:23:57,960
Speaker 2: assume it's real.

452
00:23:58,920 --> 00:24:01,600
Speaker 3: Now, I think we're about to start discussing the cast

453
00:24:01,760 --> 00:24:04,480
Speaker 3: and the characters. I mentioned at the top that D

454
00:24:04,560 --> 00:24:07,359
Speaker 3: and D the game has character classes in it so

455
00:24:07,400 --> 00:24:10,399
Speaker 3: you can cheer you know, your rogues, your rangers, your

456
00:24:10,960 --> 00:24:13,840
Speaker 3: your clerics, and so forth. Should we take a stab

457
00:24:13,960 --> 00:24:17,360
Speaker 3: At saying what actual D and D class the characters

458
00:24:17,359 --> 00:24:19,640
Speaker 3: in this movie are supposed to be? If anything?

459
00:24:20,359 --> 00:24:25,679
Speaker 2: Yeah, yeah, we should beginning with our chief antagonist. This

460
00:24:25,840 --> 00:24:30,160
Speaker 2: is Profion, a high level mage, I would assume, now, Rob.

461
00:24:30,000 --> 00:24:31,639
Speaker 3: You know the D and D lore better than I do.

462
00:24:32,480 --> 00:24:34,760
Speaker 3: But the way I sort of understand it is that

463
00:24:34,880 --> 00:24:37,680
Speaker 3: your main magic user is in D and D are

464
00:24:37,800 --> 00:24:42,040
Speaker 3: your sorcerers, your warlocks, and your wizards. The wizard is

465
00:24:42,080 --> 00:24:46,160
Speaker 3: sort of the intellectual magician who learns their powers through study.

466
00:24:46,680 --> 00:24:50,600
Speaker 3: The warlock is the sort of bound to a demonic

467
00:24:50,760 --> 00:24:54,399
Speaker 3: entity magician who gains their powers through this relationship with

468
00:24:54,840 --> 00:24:57,720
Speaker 3: you know, something that grants the power. And then finally,

469
00:24:57,720 --> 00:25:00,760
Speaker 3: your sorcerer sort of has magic in their blood. They

470
00:25:00,800 --> 00:25:03,720
Speaker 3: you know, they come from a magical background and they

471
00:25:03,800 --> 00:25:06,280
Speaker 3: do it on instinct. It's kind of hard to fit

472
00:25:06,359 --> 00:25:09,200
Speaker 3: Jeremy Iron's character in this movie into any of the three.

473
00:25:10,280 --> 00:25:13,199
Speaker 3: He fits the esthetic of a warlock the most, but

474
00:25:13,240 --> 00:25:16,480
Speaker 3: they never mention anything about a patron. So I'm gonna say,

475
00:25:16,560 --> 00:25:19,040
Speaker 3: even though he feels more warlocky, he's got to be

476
00:25:19,040 --> 00:25:20,080
Speaker 3: a wizard, right.

477
00:25:20,440 --> 00:25:24,000
Speaker 2: Yeah, Yeah, I think he's definitely a wizard. Yeah, he

478
00:25:24,080 --> 00:25:26,399
Speaker 2: is the puppet master as opposed to the puppet or

479
00:25:26,440 --> 00:25:29,160
Speaker 2: the conduit as you would have in those other two classes.

480
00:25:29,680 --> 00:25:32,800
Speaker 2: M okay, that being said, no beard, and not that

481
00:25:32,840 --> 00:25:35,719
Speaker 2: a wizard has to have a beard. But again, at

482
00:25:35,720 --> 00:25:39,480
Speaker 2: the time this spotted me. So Jeremy Irons born nineteen

483
00:25:39,560 --> 00:25:42,960
Speaker 2: forty eight. This is I believe our first Jeremy Irons film.

484
00:25:44,320 --> 00:25:47,159
Speaker 2: I've read that he joined the film during its filming

485
00:25:47,240 --> 00:25:50,960
Speaker 2: at the behest of Joel Silver and according to Irons,

486
00:25:51,000 --> 00:25:52,640
Speaker 2: out of a need to help pay for a castle

487
00:25:52,680 --> 00:25:53,560
Speaker 2: he had just purchased.

488
00:25:53,840 --> 00:25:58,160
Speaker 3: Amazing. It reminds me of that a quote from Michael

489
00:25:58,240 --> 00:26:01,119
Speaker 3: Caine about Jaws the Revenge. Somebody asked him about it,

490
00:26:01,160 --> 00:26:02,920
Speaker 3: he says, I haven't seen the film. I've heard it's

491
00:26:02,960 --> 00:26:05,080
Speaker 3: quite terrible, but I have seen the house it built

492
00:26:05,080 --> 00:26:05,800
Speaker 3: and it's lovely.

493
00:26:06,200 --> 00:26:10,199
Speaker 2: Yeah. So, Irons has a long and ongoing career on

494
00:26:10,240 --> 00:26:12,680
Speaker 2: the stage, TV and the big screen, with credits going

495
00:26:12,720 --> 00:26:16,440
Speaker 2: back to nineteen seventy one. He really began to skyrocket

496
00:26:16,440 --> 00:26:19,959
Speaker 2: with TV's Brideshead Revisited in eighty one, which earned him

497
00:26:20,040 --> 00:26:23,280
Speaker 2: numerous nominations, and his nineteen eighty six was pretty stellar,

498
00:26:23,400 --> 00:26:28,320
Speaker 2: seeing him play twin gynecologist and David Cronenberg's Dead Ringers

499
00:26:28,480 --> 00:26:33,000
Speaker 2: and also Father Gabriel and Roland Jeffy's masterpiece The Mission,

500
00:26:33,600 --> 00:26:35,359
Speaker 2: and he then went on to win the Academy Award

501
00:26:35,400 --> 00:26:37,719
Speaker 2: for Best Actor for his portrayal of Klos von Buloh

502
00:26:38,040 --> 00:26:41,600
Speaker 2: in Reversal of Fortune, opposite Glenn Close and Ron Silver.

503
00:26:42,240 --> 00:26:47,320
Speaker 2: Subsequent notable credits include David Cronenberg's m Butterfly from ninety three,

504
00:26:47,640 --> 00:26:50,399
Speaker 2: The Lion King from ninety four, in which he voiced Scar.

505
00:26:51,240 --> 00:26:54,000
Speaker 2: Now that's also a very juicy voice role.

506
00:26:54,520 --> 00:26:56,359
Speaker 3: And also, I think the way that a lot of

507
00:26:56,560 --> 00:27:00,560
Speaker 3: kids come to learn who Jeremy Irons is. Yeah, you know,

508
00:27:00,600 --> 00:27:03,080
Speaker 3: when I was like, I grew up watching The Lion King,

509
00:27:03,119 --> 00:27:05,640
Speaker 3: and then when I was older and like learning about movies,

510
00:27:06,080 --> 00:27:08,240
Speaker 3: I was like, why is this this weird guy? His

511
00:27:08,400 --> 00:27:11,600
Speaker 3: voice is so familiar? Oh it's Scar Oh okay, And

512
00:27:11,640 --> 00:27:13,120
Speaker 3: so you make the connection that way.

513
00:27:13,600 --> 00:27:16,960
Speaker 2: Yeah, long Live the King, I'll say always back in

514
00:27:17,000 --> 00:27:19,399
Speaker 2: ninety five with Diehard with a Vengeance plays the villain

515
00:27:19,400 --> 00:27:22,199
Speaker 2: in that he's in two thousand and two is the

516
00:27:22,200 --> 00:27:26,119
Speaker 2: time Machine, playing like a super intelligent morlock. He's in

517
00:27:26,119 --> 00:27:28,560
Speaker 2: two thousand and five's Kingdom of Heaven from Ridley Scott

518
00:27:28,600 --> 00:27:30,960
Speaker 2: two thousand and eight's The Color of Magic. That's a

519
00:27:31,040 --> 00:27:37,880
Speaker 2: Terry Pratchett adaptation, TV's The Borgias, the Snyder DCU Batman films,

520
00:27:38,480 --> 00:27:43,320
Speaker 2: TV's The Watchman. He's quite good in that, and then yeah, yeah,

521
00:27:43,359 --> 00:27:45,800
Speaker 2: and then twenty twenty one's House of Gucci, which I

522
00:27:45,840 --> 00:27:48,240
Speaker 2: haven't seen, but of course that was a lot of

523
00:27:48,240 --> 00:27:49,320
Speaker 2: people like that as well.

524
00:27:49,760 --> 00:27:52,520
Speaker 3: So of course Jeremy Irons is a terrific actor and

525
00:27:52,640 --> 00:27:55,280
Speaker 3: I love him in so many roles. One that stands

526
00:27:55,320 --> 00:27:57,400
Speaker 3: out to me is a kind of kind of one

527
00:27:57,440 --> 00:27:59,840
Speaker 3: of his unsung roles, but is really good. He plays

528
00:27:59,880 --> 00:28:04,920
Speaker 3: a a nasty financial CEO in the movie Margin Call.

529
00:28:04,960 --> 00:28:05,720
Speaker 3: I don't know if you've seen it.

530
00:28:05,760 --> 00:28:06,680
Speaker 2: Oh, I haven't seen that one.

531
00:28:06,840 --> 00:28:09,960
Speaker 3: Yeah, he doesn't. That a character that he often does

532
00:28:10,080 --> 00:28:14,560
Speaker 3: very well, which is a deeply morally compromised and scummy

533
00:28:14,600 --> 00:28:16,080
Speaker 3: but quite charismatic man.

534
00:28:16,800 --> 00:28:21,000
Speaker 2: Yes, scummy charismatic aristocrat is a role that he plays

535
00:28:21,119 --> 00:28:25,119
Speaker 2: very well. And I would say his performances there's often

536
00:28:25,240 --> 00:28:28,600
Speaker 2: a kind of quiet subtlety to them, like he gets

537
00:28:28,640 --> 00:28:30,679
Speaker 2: into higher energy zones. I don't want to, you know,

538
00:28:30,720 --> 00:28:33,960
Speaker 2: make it sound like he's just you know, like just

539
00:28:34,119 --> 00:28:36,520
Speaker 2: a certain energy level for the rest of his performances,

540
00:28:36,960 --> 00:28:42,120
Speaker 2: but it's generally not high energy and certainly not like

541
00:28:42,280 --> 00:28:42,880
Speaker 2: this film.

542
00:28:43,240 --> 00:28:45,600
Speaker 3: I don't know if I've ever thought to describe a

543
00:28:45,640 --> 00:28:49,200
Speaker 3: movie performance this way before, But what I realized is

544
00:28:49,720 --> 00:28:52,840
Speaker 3: Jeremy Irons came into this film with the idea, what

545
00:28:53,040 --> 00:28:56,000
Speaker 3: if I were to approach acting with the goal of

546
00:28:56,080 --> 00:29:02,240
Speaker 3: maximizing not quality, but quantity. So is this good acting

547
00:29:02,280 --> 00:29:05,080
Speaker 3: from Jeremy Irons? I honestly don't even know how to

548
00:29:05,120 --> 00:29:07,600
Speaker 3: answer that, But what I am sure of is you

549
00:29:07,640 --> 00:29:11,440
Speaker 3: cannot complain about the portions of acting. You will be

550
00:29:11,480 --> 00:29:15,760
Speaker 3: taking leftovers home from D and D like. His performance

551
00:29:15,800 --> 00:29:19,280
Speaker 3: will leave you full and you cannot consume it all.

552
00:29:19,680 --> 00:29:22,440
Speaker 2: Yeah. If a normal Jeremy Iron's performance is like a

553
00:29:22,440 --> 00:29:25,640
Speaker 2: subtle knife, this one is a chainsaw. He's on full

554
00:29:25,720 --> 00:29:29,840
Speaker 2: blast the whole time. It's glorious to behold. He's snarling,

555
00:29:30,360 --> 00:29:33,600
Speaker 2: his skull is about to pop through his face. His

556
00:29:33,720 --> 00:29:37,680
Speaker 2: presence absolutely makes this film more watchable than it would

557
00:29:37,680 --> 00:29:40,800
Speaker 2: have been otherwise, And so I think the energy level

558
00:29:40,880 --> 00:29:43,920
Speaker 2: is absolutely the right choice for this film. I honestly

559
00:29:44,000 --> 00:29:46,320
Speaker 2: don't know if this was Jeremy Iron's choice or if

560
00:29:46,320 --> 00:29:49,960
Speaker 2: this was the director's choice or some compromise between the two.

561
00:29:50,560 --> 00:29:53,560
Speaker 2: But I cannot imagine this film without it.

562
00:29:53,680 --> 00:30:00,720
Speaker 3: We shall have to modify our plans. Yeah, just chewing now.

563
00:30:00,760 --> 00:30:03,920
Speaker 2: I'm not sure his performance really lifts everyone around him

564
00:30:04,000 --> 00:30:08,520
Speaker 2: up in equal measure, which is something you sometimes see

565
00:30:08,520 --> 00:30:11,720
Speaker 2: when you have a high caliber actor working with younger

566
00:30:11,840 --> 00:30:15,320
Speaker 2: and less experienced talent. But I also have to acknowledge

567
00:30:15,320 --> 00:30:17,600
Speaker 2: that maybe this film was not exactly the sort of

568
00:30:17,680 --> 00:30:19,760
Speaker 2: workshop environment for that sort of thing.

569
00:30:20,680 --> 00:30:23,360
Speaker 3: Yeah. I don't mean this as a slight against the

570
00:30:23,360 --> 00:30:25,840
Speaker 3: great Jeremy Irons, but I would say a lot of

571
00:30:25,840 --> 00:30:29,440
Speaker 3: his scenes they don't feel very collaborative. They feel more

572
00:30:29,520 --> 00:30:32,680
Speaker 3: like he is a mad bull that has been unleashed

573
00:30:32,720 --> 00:30:36,480
Speaker 3: on the set and they've started filming. Yeah, and everybody

574
00:30:36,480 --> 00:30:38,120
Speaker 3: else is just kind of they've got to kind of

575
00:30:38,160 --> 00:30:38,760
Speaker 3: deal with it.

576
00:30:39,160 --> 00:30:42,920
Speaker 2: Yeah. Yeah, that's very much the vibe I get here too. Now,

577
00:30:42,920 --> 00:30:48,560
Speaker 2: behind every mad villain there is a henchman, and the

578
00:30:48,640 --> 00:30:52,560
Speaker 2: hinching here is provided by Bruce Payne, who plays Damadar,

579
00:30:53,080 --> 00:30:56,000
Speaker 2: who I guess he's a sword made. I think the

580
00:30:56,080 --> 00:30:59,720
Speaker 2: exact terminology changes from one edition of D and D

581
00:30:59,840 --> 00:31:02,920
Speaker 2: to the next, but it's like a wizard a magic

582
00:31:03,000 --> 00:31:06,240
Speaker 2: user who also swings a sword around, which I mean,

583
00:31:06,280 --> 00:31:08,600
Speaker 2: it's definitely in the rules, but it always feels to

584
00:31:08,640 --> 00:31:10,840
Speaker 2: me like, come on, dude, you can choose to be

585
00:31:11,200 --> 00:31:13,400
Speaker 2: a fighter or a wizard. Why do you have to

586
00:31:13,440 --> 00:31:15,680
Speaker 2: try and be both share the love with the table.

587
00:31:17,360 --> 00:31:18,200
Speaker 3: Yeah, exactly.

588
00:31:18,600 --> 00:31:18,840
Speaker 2: Yeah.

589
00:31:19,160 --> 00:31:20,680
Speaker 3: I was trying to place him as well. I was

590
00:31:20,760 --> 00:31:25,360
Speaker 3: having trouble. He's got big he's got big scary armor. Okay, so,

591
00:31:25,640 --> 00:31:27,600
Speaker 3: and he's got a big sword, and that does seem

592
00:31:27,600 --> 00:31:29,760
Speaker 3: to place him in the kind of physical fighter class,

593
00:31:29,760 --> 00:31:33,560
Speaker 3: but he's also yeah, peripheral to a bunch of dark magic.

594
00:31:34,000 --> 00:31:35,960
Speaker 2: Yeah, and when he shows up at one point, Richard

595
00:31:35,960 --> 00:31:37,880
Speaker 2: O'Brien's character is like, get that mage out of here.

596
00:31:37,920 --> 00:31:40,440
Speaker 2: No mage is allowed, So I guess he's a mage.

597
00:31:40,920 --> 00:31:43,480
Speaker 3: But also that goes on something in the movie where

598
00:31:43,880 --> 00:31:46,760
Speaker 3: it treats mage not as a character class in the game,

599
00:31:46,800 --> 00:31:50,640
Speaker 3: but as an economic class. Like in the world of

600
00:31:50,960 --> 00:31:54,000
Speaker 3: this D and D movie, if you are a mage,

601
00:31:54,160 --> 00:31:55,320
Speaker 3: that means you're rich.

602
00:31:56,360 --> 00:31:59,680
Speaker 2: Right. The mages control everything, as we'll get into. But

603
00:31:59,680 --> 00:32:02,600
Speaker 2: then this duds like walking through portals and granted, magical

604
00:32:02,600 --> 00:32:06,200
Speaker 2: portals are really thrown around in this movie with reckless abandons.

605
00:32:06,360 --> 00:32:09,320
Speaker 2: But I'm not entirely sure who's casting them. Is Damadar

606
00:32:09,440 --> 00:32:12,680
Speaker 2: casting them or does he have like a travel wizard

607
00:32:12,720 --> 00:32:13,600
Speaker 2: with him at all times.

608
00:32:13,640 --> 00:32:16,440
Speaker 3: It's like they can cast misty step without being able

609
00:32:16,440 --> 00:32:17,400
Speaker 3: to see where they're going.

610
00:32:17,880 --> 00:32:21,880
Speaker 2: Yeah. But Bruce Payne, Yes, we've talked about Bruce Payne

611
00:32:21,880 --> 00:32:24,600
Speaker 2: on the show before. Born nineteen fifty eight, British actor,

612
00:32:24,680 --> 00:32:29,200
Speaker 2: stage and screen. He was in Alan Clark's snooker musical

613
00:32:29,520 --> 00:32:33,320
Speaker 2: Billy the Kid and the Green Bays Vampire, a glorious

614
00:32:33,360 --> 00:32:37,120
Speaker 2: film and a fine supporting and singing performance by Pain

615
00:32:37,320 --> 00:32:41,400
Speaker 2: as the one akat O. He's great in that, and

616
00:32:42,000 --> 00:32:44,240
Speaker 2: I'm to understand he's also really good in nineteen eighty

617
00:32:44,240 --> 00:32:49,040
Speaker 2: six is absolute beginners. But man, the nineteen nineties Bruce

618
00:32:49,080 --> 00:32:51,040
Speaker 2: Payne that I think most of us are familiar with

619
00:32:51,440 --> 00:32:55,720
Speaker 2: are it's this Bruce Payne. It's like looming British villain.

620
00:32:55,840 --> 00:33:01,000
Speaker 2: Bruce Payne, like he really found his niche niche in

621
00:33:01,040 --> 00:33:04,440
Speaker 2: the nineteen nineties. Numerous films we can reference here in

622
00:33:04,480 --> 00:33:07,360
Speaker 2: which he's playing some variation of this bad guy.

623
00:33:07,640 --> 00:33:10,720
Speaker 3: Sometimes feels in this movie like he's trying to match

624
00:33:10,880 --> 00:33:13,760
Speaker 3: or compete with Jeremy irons, like they were literally like

625
00:33:13,880 --> 00:33:19,160
Speaker 3: betting which one could overact more just stunningly inappropriate line

626
00:33:19,200 --> 00:33:23,400
Speaker 3: deliveries taking four or five times longer than necessary to

627
00:33:23,520 --> 00:33:28,720
Speaker 3: spit out function just very functional lines like placecards at

628
00:33:29,000 --> 00:33:30,160
Speaker 3: every gate.

629
00:33:32,160 --> 00:33:36,720
Speaker 2: Yeah, exactly, like really drawn out. And the look of

630
00:33:36,760 --> 00:33:40,280
Speaker 2: this character too, we have to I mean you mentioned

631
00:33:40,280 --> 00:33:42,360
Speaker 2: the armor he has. He has some cool looking armor,

632
00:33:42,720 --> 00:33:46,240
Speaker 2: you know, neat cape, big sword, but he also has

633
00:33:46,840 --> 00:33:51,880
Speaker 2: bright blue lips electric blue. Yeah, like like he just

634
00:33:52,000 --> 00:33:56,160
Speaker 2: had some sort of like really bright slushie or something

635
00:33:56,920 --> 00:33:59,560
Speaker 2: or that. It is like just really bright blue lipstick

636
00:33:59,640 --> 00:34:02,200
Speaker 2: that I kept expecting it to be explained one way

637
00:34:02,280 --> 00:34:03,960
Speaker 2: or another or another, Like there's some sort of like

638
00:34:04,080 --> 00:34:07,280
Speaker 2: mintat wine that he drinks, but I don't think they

639
00:34:07,320 --> 00:34:09,400
Speaker 2: ever really make any sense of it. It's just a

640
00:34:09,400 --> 00:34:11,280
Speaker 2: bizarre visual choice.

641
00:34:11,480 --> 00:34:14,080
Speaker 3: He's one of those bald guys with blue lips.

642
00:34:14,160 --> 00:34:16,480
Speaker 2: Yeah. And then a later part of What's in This

643
00:34:16,560 --> 00:34:20,160
Speaker 2: World and later as he's infected by a bizarre CGI

644
00:34:20,280 --> 00:34:26,160
Speaker 2: brain parasite, he also begins to boast increasingly inflamed ears.

645
00:34:26,760 --> 00:34:28,919
Speaker 2: So most of the scenes you end up with having

646
00:34:29,080 --> 00:34:32,359
Speaker 2: like close in on his head bright blue lips, big

647
00:34:32,400 --> 00:34:34,600
Speaker 2: red ears. It's ridiculous.

648
00:34:34,719 --> 00:34:36,440
Speaker 3: Yeah, the ears look painful.

649
00:34:36,800 --> 00:34:39,680
Speaker 2: Yeah, but he manages to push through all this and

650
00:34:39,719 --> 00:34:42,920
Speaker 2: make you believe in the character's cardboard villainy. You know,

651
00:34:43,000 --> 00:34:46,680
Speaker 2: he's a cardboard villain, very much a henchman. But you

652
00:34:46,719 --> 00:34:49,640
Speaker 2: know he does a commendable job here.

653
00:34:50,040 --> 00:34:53,319
Speaker 3: He gets to do the classic. You know, the hero says, hey,

654
00:34:53,400 --> 00:34:55,560
Speaker 3: you said if I gave you the artifact, you'd free

655
00:34:55,560 --> 00:35:00,719
Speaker 3: my friends. What does he get to say? I lie?

656
00:35:01,680 --> 00:35:04,920
Speaker 2: Now. Other Bruce Payne performances the nineteen nineties that I

657
00:35:04,960 --> 00:35:08,759
Speaker 2: think cemented his place as a go to villain. He

658
00:35:08,800 --> 00:35:12,040
Speaker 2: does have a role in nineteen ninety one's Howling the Freaks,

659
00:35:12,400 --> 00:35:16,120
Speaker 2: in which he plays a hideous dart Nosferatu character under

660
00:35:16,160 --> 00:35:17,919
Speaker 2: a lot of makeup. I don't know if I would

661
00:35:17,920 --> 00:35:21,120
Speaker 2: have ever recognized this as Bruce Payne. But then, more

662
00:35:21,120 --> 00:35:23,240
Speaker 2: to the point, he was in nineteen ninety two's Passenger

663
00:35:23,280 --> 00:35:27,240
Speaker 2: fifty seven, in which he plays the villain opposite Wesley Snipes.

664
00:35:27,680 --> 00:35:30,799
Speaker 2: His subsequent credits included the likes of ninety three's Necronomicon

665
00:35:30,840 --> 00:35:34,279
Speaker 2: Book of the Dead, Tales from the Crypt, Warlock three,

666
00:35:34,440 --> 00:35:37,200
Speaker 2: The End of Innocence, taking over the part from Julian

667
00:35:37,280 --> 00:35:41,720
Speaker 2: Sands Highlander endgame in two thousand and the two thousand

668
00:35:41,719 --> 00:35:43,960
Speaker 2: and five D and D sequel that we referenced earlier,

669
00:35:44,000 --> 00:35:46,320
Speaker 2: in which he was I believe the only cast member returning.

670
00:35:46,760 --> 00:35:47,600
Speaker 3: Good to stay busy.

671
00:35:48,000 --> 00:35:59,080
Speaker 2: Yes, all right, so those are our chief antagonist and

672
00:35:59,160 --> 00:36:02,120
Speaker 2: the henchman. Let's get into the actual adventuring party here.

673
00:36:02,239 --> 00:36:03,200
Speaker 3: Yeah, our heroes.

674
00:36:04,160 --> 00:36:07,600
Speaker 2: So this is one of those encounters where the dungeon

675
00:36:07,640 --> 00:36:11,640
Speaker 2: master didn't really tell everyone that they needed certain roles.

676
00:36:11,680 --> 00:36:14,080
Speaker 2: They didn't. He didn't explain that somebody needs to be

677
00:36:14,120 --> 00:36:16,240
Speaker 2: the cleric because there's no cleric in the party.

678
00:36:16,320 --> 00:36:16,360
Speaker 4: No.

679
00:36:16,480 --> 00:36:19,279
Speaker 3: In fact, you have two rogues, two rogues. Our main

680
00:36:19,400 --> 00:36:22,760
Speaker 3: two characters are both rogues. That is imbalanced.

681
00:36:23,760 --> 00:36:27,360
Speaker 2: Imbalanced though I don't know. Anytime i'm dungeon mastering, I'm like,

682
00:36:27,680 --> 00:36:29,600
Speaker 2: just play what you want to play. If we're all rogues,

683
00:36:29,640 --> 00:36:32,480
Speaker 2: we'll roll with it. We'll find a way. But in

684
00:36:32,600 --> 00:36:35,960
Speaker 2: general you're supposed to sort of steer everyone towards a

685
00:36:36,000 --> 00:36:40,719
Speaker 2: balanced party. So I guess our main rogue here are

686
00:36:41,239 --> 00:36:45,680
Speaker 2: ultimately our lead character. Our protagonist is Ridley Freeborn and

687
00:36:46,040 --> 00:36:48,640
Speaker 2: a generic rogue I guess played by Justin Whalen.

688
00:36:48,960 --> 00:36:55,719
Speaker 3: My name is Maximus Protagonist. Oh boy, Yeah, he's got

689
00:36:55,760 --> 00:37:00,600
Speaker 3: such like hero kid energy in this Yeah.

690
00:37:00,680 --> 00:37:02,920
Speaker 2: Yeah, all of his scenes feel like they were directed

691
00:37:02,920 --> 00:37:06,799
Speaker 2: by uncle baby Billy, you know, like major Tinges energy here.

692
00:37:07,920 --> 00:37:11,280
Speaker 2: It's not a character that I ever found myself liking

693
00:37:11,520 --> 00:37:15,120
Speaker 2: or rooting for. Not that it's the actor's fault, but

694
00:37:15,160 --> 00:37:18,279
Speaker 2: it's just like, this is our hero. I don't know.

695
00:37:18,719 --> 00:37:21,000
Speaker 3: Boy, you didn't like the Dark Knight of the Soul

696
00:37:21,080 --> 00:37:23,440
Speaker 3: scene in the late movie when he's like, why are

697
00:37:23,760 --> 00:37:29,560
Speaker 3: bad things bad? And yeah, well, why do we have

698
00:37:29,640 --> 00:37:30,440
Speaker 3: to fight evil?

699
00:37:31,800 --> 00:37:33,560
Speaker 2: Yeah? At that point I was more like, get on

700
00:37:33,719 --> 00:37:35,840
Speaker 2: with it to the scene where you fight the evil.

701
00:37:35,880 --> 00:37:37,759
Speaker 2: Obviously you're going to fight the evil, dude. Come on.

702
00:37:39,040 --> 00:37:43,200
Speaker 2: So this actor American actor who previously worked as a

703
00:37:43,280 --> 00:37:46,000
Speaker 2: child actor on such films as nineteen eighty eight's The Deadpool,

704
00:37:46,320 --> 00:37:50,040
Speaker 2: nineteen ninety one's Child's Play three, and various TV shows

705
00:37:50,040 --> 00:37:52,720
Speaker 2: including The Wonder Years and Blossom, and he was active

706
00:37:52,719 --> 00:37:54,880
Speaker 2: through I believe around two thousand and nine when he

707
00:37:55,160 --> 00:37:55,960
Speaker 2: retired from acting.

708
00:37:56,200 --> 00:37:58,960
Speaker 3: Okay, but as we said, it's it's not just one

709
00:37:59,040 --> 00:38:01,719
Speaker 3: rogue in the lead. It's a bloody rogue movie. Yes,

710
00:38:02,160 --> 00:38:04,719
Speaker 3: so we got the other one, played by Marlon Wayans.

711
00:38:05,480 --> 00:38:10,440
Speaker 2: Yes, Marlon Wayans of the Wayans Brothers plays Snails. Snails

712
00:38:10,640 --> 00:38:14,720
Speaker 2: is another generic rogue. I believe he uses the comedic

713
00:38:14,800 --> 00:38:18,759
Speaker 2: sidekick specialization within the rogue.

714
00:38:18,520 --> 00:38:21,360
Speaker 3: Archetype here arcane prankster.

715
00:38:22,719 --> 00:38:27,960
Speaker 2: Essentially, but no magic. Yeah yeah so. Born nineteen seventy two,

716
00:38:28,640 --> 00:38:33,080
Speaker 2: Wayn's brother, actor, writer, and comedian who's best known for

717
00:38:33,840 --> 00:38:36,919
Speaker 2: wildly over the top comedic performances in such films as

718
00:38:37,000 --> 00:38:40,080
Speaker 2: The Scary Movie Franchise, which he also co wrote and

719
00:38:40,120 --> 00:38:43,279
Speaker 2: co produced two thousand and four's White Chicks and two

720
00:38:43,320 --> 00:38:46,399
Speaker 2: thousand and six Little Man. And I haven't seen this one,

721
00:38:46,440 --> 00:38:47,799
Speaker 2: but this is the one where he plays like a

722
00:38:47,840 --> 00:38:52,400
Speaker 2: CGI face assisted baby, Like it's Marlon Wayans face on

723
00:38:52,440 --> 00:38:57,120
Speaker 2: a baby. Oh no, So, I mean it's what put

724
00:38:57,160 --> 00:39:00,600
Speaker 2: him on the map and people enjoyed the films that

725
00:39:00,680 --> 00:39:04,600
Speaker 2: made him a success, And that is mostly the vibe

726
00:39:04,600 --> 00:39:07,160
Speaker 2: we get in D and D. He is the comedic relief.

727
00:39:07,520 --> 00:39:11,040
Speaker 2: He has one, maybe two scenes but most likely one

728
00:39:11,120 --> 00:39:13,760
Speaker 2: scene in this movie where he mostly plays it straight,

729
00:39:14,239 --> 00:39:16,880
Speaker 2: but for the most part it's full scary movie mode

730
00:39:16,880 --> 00:39:17,840
Speaker 2: for the rest of the picture.

731
00:39:18,080 --> 00:39:22,360
Speaker 3: Yes, He's doing comedy, physical comedy and character comedy for

732
00:39:22,480 --> 00:39:25,319
Speaker 3: most of the film, which makes it rather jaring. In

733
00:39:25,400 --> 00:39:28,479
Speaker 3: the scene where he gets murdered by the villain, which

734
00:39:28,520 --> 00:39:33,160
Speaker 3: is suddenly very serious, and all his friends are like, no, dead,

735
00:39:33,560 --> 00:39:36,680
Speaker 3: and I kept thinking, well, surely he can't really be dead.

736
00:39:36,719 --> 00:39:40,520
Speaker 3: That would be so tonally weird, especially given how just

737
00:39:40,760 --> 00:39:43,680
Speaker 3: he's like joking all the time. But no, he's just dead.

738
00:39:44,040 --> 00:39:44,960
Speaker 3: They just killed him.

739
00:39:45,280 --> 00:39:48,879
Speaker 2: He pulls such faces in scenes where he's not even

740
00:39:48,920 --> 00:39:52,759
Speaker 2: talking that reminded me of some of the supporting performances

741
00:39:52,800 --> 00:39:57,200
Speaker 2: by this particular vaudevillian actor in Santa Claus versus the Martians.

742
00:39:57,200 --> 00:40:00,680
Speaker 2: Like it's that level of just over the top intens yes.

743
00:40:02,680 --> 00:40:05,400
Speaker 2: But the crazy thing for me though, was I was like,

744
00:40:05,440 --> 00:40:07,640
Speaker 2: I was looking at his filmography and I realized, you know,

745
00:40:07,719 --> 00:40:10,880
Speaker 2: the year two thousand, that's also the year that Marlon

746
00:40:10,920 --> 00:40:14,960
Speaker 2: Wayans appeared and was widely considered a really solid, serious,

747
00:40:15,040 --> 00:40:18,080
Speaker 2: dramatic performance from him. And that's Darren Aronofsky's Requiem for

748
00:40:18,120 --> 00:40:18,560
Speaker 2: a Dream.

749
00:40:18,680 --> 00:40:21,439
Speaker 3: Oh yeah, I had forgotten he was in that, but yeah,

750
00:40:21,440 --> 00:40:24,640
Speaker 3: he's great in that. This is around the same time. Unbelievable.

751
00:40:24,960 --> 00:40:27,640
Speaker 2: Yeah, So I mean you know, the man has and

752
00:40:27,760 --> 00:40:31,640
Speaker 2: had the tools. But I mean, obviously there's a lot

753
00:40:31,680 --> 00:40:36,520
Speaker 2: more money to be made in the comedy business. But yeah,

754
00:40:36,640 --> 00:40:40,239
Speaker 2: that's snails, more on snails than in a bit, all right.

755
00:40:40,280 --> 00:40:43,759
Speaker 2: The next character I think is obviously an NPC. I

756
00:40:43,760 --> 00:40:46,960
Speaker 2: don't think she has any marketable skills other than she

757
00:40:47,200 --> 00:40:51,000
Speaker 2: is the Empress, the Empress Savina played by Thora Birch.

758
00:40:52,000 --> 00:40:54,080
Speaker 3: Now we're gonna we're making a habit of having to

759
00:40:54,080 --> 00:40:56,319
Speaker 3: say this as we talk about every actor playing a

760
00:40:56,320 --> 00:40:58,680
Speaker 3: good character in this movie. But no offense to the

761
00:40:59,239 --> 00:41:02,279
Speaker 3: actor here, no offense to Thora Birch. But yeah, there

762
00:41:02,320 --> 00:41:04,320
Speaker 3: is not much going on with this character.

763
00:41:04,719 --> 00:41:07,400
Speaker 2: Yeah, I think they were maybe going for a childlike

764
00:41:07,440 --> 00:41:11,120
Speaker 2: empress vibe here from the never ending story, except what

765
00:41:11,239 --> 00:41:14,280
Speaker 2: if we weighed her down with like two tons of chainmail,

766
00:41:15,520 --> 00:41:18,680
Speaker 2: because she just ends up looking uncomfortable in most of

767
00:41:18,719 --> 00:41:19,760
Speaker 2: these scenes.

768
00:41:19,600 --> 00:41:23,120
Speaker 3: Well, but also forced her to make speeches like engage

769
00:41:23,160 --> 00:41:27,200
Speaker 3: in political rhetoric. Essentially, the childlike empress does not do.

770
00:41:27,239 --> 00:41:31,319
Speaker 2: That, right. So, born in nineteen eighty two, she kicked

771
00:41:31,320 --> 00:41:33,040
Speaker 2: things off as a child actor and at this point

772
00:41:33,120 --> 00:41:35,480
Speaker 2: had already appeared in such films as nineteen ninety two's

773
00:41:35,480 --> 00:41:38,919
Speaker 2: Patriot Games. Ninety three's hocus Pocus ninety four is clear

774
00:41:38,920 --> 00:41:42,480
Speaker 2: and present danger and very important one episode of the

775
00:41:42,560 --> 00:41:46,640
Speaker 2: nineteen nineties Outer Limits. But this film is also sandwich

776
00:41:46,719 --> 00:41:49,920
Speaker 2: between two of her most critically acclaimed films. I believe

777
00:41:50,040 --> 00:41:53,880
Speaker 2: when they filmed Dungeons and Dragons, they'd already shot nineteen

778
00:41:53,920 --> 00:41:57,960
Speaker 2: ninety nine's American Beauty, but then it comes out before

779
00:41:58,080 --> 00:42:00,800
Speaker 2: D and D comes out, obviously, and then after American

780
00:42:00,840 --> 00:42:02,719
Speaker 2: Beauty came out, of course, she received a lot of

781
00:42:02,719 --> 00:42:04,759
Speaker 2: acclaim for that performance, and then she would go on

782
00:42:04,840 --> 00:42:07,080
Speaker 2: to have a really solid performance in two thousand and

783
00:42:07,160 --> 00:42:11,640
Speaker 2: one Ghost World opposite Scarlett Johansson and Steve USIMMI It's

784
00:42:11,680 --> 00:42:14,160
Speaker 2: been a long time since I've seen either of those films,

785
00:42:14,320 --> 00:42:16,960
Speaker 2: but I do remember her as being rather good in

786
00:42:16,960 --> 00:42:17,839
Speaker 2: Ghost World.

787
00:42:18,719 --> 00:42:20,680
Speaker 3: Yeah, I don't think I've seen either of those since

788
00:42:20,719 --> 00:42:24,680
Speaker 3: the early two thousands, but yeah, same like thor Birch,

789
00:42:25,120 --> 00:42:28,000
Speaker 3: I like with much of the cast. I would be

790
00:42:28,080 --> 00:42:31,720
Speaker 3: curious to hear her thoughts and what she remembers about

791
00:42:31,719 --> 00:42:32,600
Speaker 3: making this film.

792
00:42:33,160 --> 00:42:38,480
Speaker 2: Yeah, because yeah, I you know, again, solid actress, but

793
00:42:38,640 --> 00:42:43,680
Speaker 2: this is not the picture, all right, Let's move back

794
00:42:43,719 --> 00:42:49,000
Speaker 2: to the actual adventuring party. We also have Marina Pretensa.

795
00:42:49,960 --> 00:42:52,160
Speaker 2: She is a human mage and she is played by

796
00:42:52,239 --> 00:42:56,959
Speaker 2: Zoe mcleland born nineteen seventy four, American TV actress best

797
00:42:57,000 --> 00:42:58,839
Speaker 2: known for this film I think, and I have to say,

798
00:42:59,160 --> 00:43:00,839
Speaker 2: I thought she was actually pretty good in this role,

799
00:43:00,880 --> 00:43:04,640
Speaker 2: despite the flat misogyny gags that were kind of shoehorned

800
00:43:04,680 --> 00:43:09,040
Speaker 2: in there, I don't know. She was more alive, Her

801
00:43:09,120 --> 00:43:12,680
Speaker 2: character felt more alive, and her performance therefore followed in

802
00:43:12,760 --> 00:43:14,080
Speaker 2: ways that other characters did not.

803
00:43:14,760 --> 00:43:18,279
Speaker 3: Yeah. Yeah, yeah, Well another example of not a great,

804
00:43:18,800 --> 00:43:21,319
Speaker 3: not a wonderfully written role, but she's doing what she

805
00:43:21,320 --> 00:43:21,839
Speaker 3: can with it.

806
00:43:22,000 --> 00:43:24,840
Speaker 2: Yeah, she as. She appeared on such TV shows as

807
00:43:24,880 --> 00:43:27,600
Speaker 2: Star Trek Voyager, and I think she was main cast

808
00:43:27,680 --> 00:43:32,640
Speaker 2: on Designated Survivor. All right. Next up, we have Ellwood Gutworthy.

809
00:43:33,160 --> 00:43:36,560
Speaker 2: He is a dwarven fighter and he is played by

810
00:43:36,719 --> 00:43:42,760
Speaker 2: Lee Arenberg born nineteen sixty two, possibly under celebrated American

811
00:43:42,840 --> 00:43:45,200
Speaker 2: character actor. You might not know his name, but you'll

812
00:43:45,200 --> 00:43:48,319
Speaker 2: instantly recognize him from such projects as the Pirates of

813
00:43:48,320 --> 00:43:51,600
Speaker 2: the Caribbean movies, which he played. This character's name is

814
00:43:51,640 --> 00:43:53,840
Speaker 2: Pintel or Pentel.

815
00:43:53,600 --> 00:43:56,440
Speaker 3: See one of the two sort of comedy Pirates, The

816
00:43:56,480 --> 00:43:57,840
Speaker 3: bad Guy Comedy Pirates.

817
00:43:58,040 --> 00:44:00,760
Speaker 2: Yeah, he's the bald one, the bald bearded comedy Pirate.

818
00:44:01,760 --> 00:44:05,239
Speaker 2: He also has appeared on TV shows like Friends and Seinfeld,

819
00:44:05,880 --> 00:44:07,960
Speaker 2: But I think the first place I saw him was

820
00:44:07,960 --> 00:44:11,200
Speaker 2: a nineteen ninety Tales from the Crypt episode titled for

821
00:44:11,320 --> 00:44:16,320
Speaker 2: Crying Out Loud, which co starred Katie Segal, Iggy Pop

822
00:44:16,400 --> 00:44:19,640
Speaker 2: and Sam Kennison as the voice in Arenberg's head.

823
00:44:20,000 --> 00:44:22,399
Speaker 3: Sam Kinnison as the voice in his head.

824
00:44:22,600 --> 00:44:26,000
Speaker 2: Yes. Wow. He also played the Eternal Flame in the

825
00:44:26,120 --> 00:44:31,520
Speaker 2: nineteen ninety three cinematic Marvel Freaked, and you'll also find

826
00:44:31,560 --> 00:44:33,839
Speaker 2: him in some other bits as well, like he plays

827
00:44:33,840 --> 00:44:35,680
Speaker 2: a hold up man in RoboCop three.

828
00:44:36,840 --> 00:44:38,759
Speaker 3: As for his role in this movie, I mean, I

829
00:44:38,800 --> 00:44:42,239
Speaker 3: hope you like seeing food in people's beard's that's the

830
00:44:42,719 --> 00:44:45,879
Speaker 3: yuck yuck. You know they're gonna go for that joke

831
00:44:46,000 --> 00:44:50,160
Speaker 3: many times, and you will actually be quite impressed how

832
00:44:50,320 --> 00:44:52,280
Speaker 3: much food they can fit in his beard.

833
00:44:52,880 --> 00:44:55,759
Speaker 2: Yeah. They just kept saying it's not funny enough. Let's

834
00:44:55,800 --> 00:44:57,400
Speaker 2: add more chicken wings to the gag.

835
00:44:57,600 --> 00:44:58,880
Speaker 3: More chicken Yeah.

836
00:44:58,960 --> 00:45:02,400
Speaker 2: Yeah, you know, I remember being a little grumpy about

837
00:45:02,440 --> 00:45:05,759
Speaker 2: the dwarf as comic relief elements in Jackson's Lord of

838
00:45:05,760 --> 00:45:10,160
Speaker 2: the Rings, but gut Worthy here is ten thousand times

839
00:45:10,160 --> 00:45:12,759
Speaker 2: worse than any of that. Like, this film's vision for

840
00:45:12,800 --> 00:45:15,600
Speaker 2: a dwarf is that of a kind of drunken, bearded

841
00:45:15,680 --> 00:45:19,840
Speaker 2: umpah lumpa whose main character traits are alcoholism, gluttony, and

842
00:45:19,880 --> 00:45:20,640
Speaker 2: poor hygiene.

843
00:45:20,880 --> 00:45:24,240
Speaker 3: Yes, he drinks, he fights, He has chicken and beard.

844
00:45:24,640 --> 00:45:27,240
Speaker 2: Yeah, and that's that's pretty much. Yet it's kind of awful.

845
00:45:27,280 --> 00:45:30,480
Speaker 2: And I think like he is painted orange or I

846
00:45:30,520 --> 00:45:32,920
Speaker 2: don't like it's like he has like an orange beard,

847
00:45:33,400 --> 00:45:35,400
Speaker 2: like a bright orange beard, and I think there's like

848
00:45:35,440 --> 00:45:39,680
Speaker 2: orange pain on his face. It is. It's just everything

849
00:45:39,719 --> 00:45:41,560
Speaker 2: is wrong about this presentation.

850
00:45:41,600 --> 00:45:44,200
Speaker 3: Okay, But no confusion about class here. This is our

851
00:45:44,480 --> 00:45:47,239
Speaker 3: standard fighter. He's like got a battle axe, that's what

852
00:45:47,280 --> 00:45:47,680
Speaker 3: he does.

853
00:45:47,760 --> 00:45:52,840
Speaker 2: He specializes though, in background fighting, not like key villain fighting,

854
00:45:52,880 --> 00:45:54,279
Speaker 2: but just background stuff.

855
00:45:54,160 --> 00:45:56,560
Speaker 3: Doing it doing a leg sweep and uh, well, I

856
00:45:56,600 --> 00:45:58,839
Speaker 3: think he legs sweeps damodar one time.

857
00:45:58,920 --> 00:46:01,920
Speaker 2: Oh pretty, I guess you know. It's a team effort.

858
00:46:02,120 --> 00:46:04,960
Speaker 3: Yeah, but mostly you're right. He's back there slamming around

859
00:46:05,000 --> 00:46:08,160
Speaker 3: while our more prominent characters are in the foreground.

860
00:46:08,400 --> 00:46:11,040
Speaker 2: All right, up next we have Norda, an Elvin ranger

861
00:46:11,440 --> 00:46:15,800
Speaker 2: played by Kristin Wilson born nineteen sixty nine, American actress,

862
00:46:15,800 --> 00:46:18,480
Speaker 2: best known for playing Lisa Doolittle in nineteen ninety eight's

863
00:46:18,560 --> 00:46:23,399
Speaker 2: Doctor Doolittle and It's two thousand and one sequel. Interestingly enough,

864
00:46:23,560 --> 00:46:27,719
Speaker 2: she's married to makeup affects artist Martin Estells, who worked

865
00:46:27,719 --> 00:46:30,240
Speaker 2: on Chronicles of Riddick and also worked on this film.

866
00:46:30,719 --> 00:46:34,040
Speaker 2: So it's very possible that dungeons and dragons brought this

867
00:46:34,400 --> 00:46:35,160
Speaker 2: couple together.

868
00:46:36,360 --> 00:46:38,040
Speaker 3: What better way to find true love.

869
00:46:39,280 --> 00:46:42,720
Speaker 2: As for her performance, I mean, I think it seems fine.

870
00:46:42,800 --> 00:46:46,520
Speaker 2: They have her wearing one of those ridiculous fantasy female breastplates,

871
00:46:47,719 --> 00:46:51,000
Speaker 2: but that aside. You know, I totally bought her as

872
00:46:51,040 --> 00:46:53,120
Speaker 2: a no nonsense Elvin Ranger.

873
00:46:53,920 --> 00:46:57,320
Speaker 3: She has a good funny moment when Snails is trying

874
00:46:57,320 --> 00:47:00,160
Speaker 3: to flirt with her and she's like, how old are you?

875
00:47:00,200 --> 00:47:02,239
Speaker 3: And he says twenty three and she's like, I'm two

876
00:47:02,360 --> 00:47:03,360
Speaker 3: hundred and thirty five.

877
00:47:05,640 --> 00:47:09,319
Speaker 2: That was pretty good. Yeah, all right. Next up, we

878
00:47:09,360 --> 00:47:13,759
Speaker 2: have just really a couple of kind of fun cameos,

879
00:47:13,960 --> 00:47:17,080
Speaker 2: a little side characters that are encountered. The first I

880
00:47:17,080 --> 00:47:19,560
Speaker 2: already mentioned in passing that Richard O'Brien shows up, and yes,

881
00:47:19,640 --> 00:47:23,759
Speaker 2: Richard O'Brien shows up as Zilious, a master thief born

882
00:47:23,840 --> 00:47:26,680
Speaker 2: nineteen forty two. This is, of course the mastermind behind

883
00:47:26,680 --> 00:47:29,399
Speaker 2: the Rocky Horror Picture Show, in which he also played

884
00:47:29,480 --> 00:47:33,480
Speaker 2: riff Raff. He played He played Mister Hand in nineteen

885
00:47:33,560 --> 00:47:36,160
Speaker 2: ninety eight s Dark City, and we previously mentioned him

886
00:47:36,160 --> 00:47:38,799
Speaker 2: in our episode on nineteen eighty's Flash Gordon, in which

887
00:47:38,800 --> 00:47:41,920
Speaker 2: he played a character named Falco. We're going to come

888
00:47:41,960 --> 00:47:44,160
Speaker 2: back to O'Brien in the future when we talk about

889
00:47:44,200 --> 00:47:46,920
Speaker 2: a film in which he's more central, So you know,

890
00:47:46,960 --> 00:47:49,600
Speaker 2: I'll keep this brief and say that, yeah, he does

891
00:47:49,640 --> 00:47:52,960
Speaker 2: bring his signature charisma to this small role, but he

892
00:47:53,040 --> 00:47:55,760
Speaker 2: still manages to feel a bit out of place as well.

893
00:47:56,160 --> 00:47:58,239
Speaker 3: I'd say, once again doing what he can.

894
00:47:58,719 --> 00:48:05,000
Speaker 2: Yeah. Oh, but then Tom Baker shows up as hal

895
00:48:05,120 --> 00:48:08,040
Speaker 2: varth An Elvin Kleric kind of late in the film.

896
00:48:08,160 --> 00:48:12,160
Speaker 2: He attempts, but what fails to resurrect Snails. Who's he healing?

897
00:48:12,480 --> 00:48:15,960
Speaker 3: He's healing justin well, he's he's healing Ridley. He's like

898
00:48:16,040 --> 00:48:18,240
Speaker 3: he's apps him with yellow Zippy's apps.

899
00:48:18,320 --> 00:48:20,239
Speaker 2: That's right, Yeah, Snails is just all the way down

900
00:48:20,280 --> 00:48:20,800
Speaker 2: at this point.

901
00:48:20,880 --> 00:48:23,680
Speaker 3: He Snails is dead. Well, Snails does resurrect at the

902
00:48:23,760 --> 00:48:26,839
Speaker 3: end of the movie. Oh okay, remember they like they

903
00:48:26,880 --> 00:48:29,040
Speaker 3: put a thing a jewel on his grave, and then

904
00:48:29,080 --> 00:48:31,959
Speaker 3: it suggests he's still alive somewhere else and they could

905
00:48:31,960 --> 00:48:32,520
Speaker 3: go meet him.

906
00:48:32,560 --> 00:48:35,120
Speaker 2: I think, oh, okay, well, all right, there's so there's

907
00:48:35,160 --> 00:48:38,239
Speaker 2: some hope for Snails. Yeah. So yeah, okay, so he

908
00:48:38,239 --> 00:48:39,600
Speaker 2: heals our main protagonist.

909
00:48:39,920 --> 00:48:43,839
Speaker 3: Yes, uh, he's not. We've been saying about a lot

910
00:48:43,840 --> 00:48:45,360
Speaker 3: of people. They do what they can. I don't know.

911
00:48:45,440 --> 00:48:47,920
Speaker 3: Tom Baker feels like he's kind of sleep walking through this.

912
00:48:48,080 --> 00:48:50,200
Speaker 3: When he says his lines, it feels like he's saying

913
00:48:50,280 --> 00:48:51,240
Speaker 3: him for the first time.

914
00:48:51,719 --> 00:48:54,040
Speaker 2: Oh I don't know. I mean that may very well

915
00:48:54,080 --> 00:48:56,440
Speaker 2: be the case, but maybe I just find tom Baker

916
00:48:56,520 --> 00:48:59,640
Speaker 2: captivating enough that that was enough for me where I'm like, hey,

917
00:48:59,760 --> 00:49:01,959
Speaker 2: he's this guy's doing it. This guy knows what he's doing.

918
00:49:02,000 --> 00:49:02,360
Speaker 2: Look at that.

919
00:49:02,800 --> 00:49:05,840
Speaker 3: I mean tom Baker's Don Baker. Yeah he so he

920
00:49:05,920 --> 00:49:09,920
Speaker 3: brings more doctor Who energy than rasputant energy.

921
00:49:09,960 --> 00:49:13,279
Speaker 2: I'd say here, Yeah, so, Tom Baker, if you're not

922
00:49:13,320 --> 00:49:17,360
Speaker 2: from here born nineteen thirty four, still active, I Believe,

923
00:49:17,760 --> 00:49:20,399
Speaker 2: a British actor of stage, screen and TV, best known

924
00:49:20,400 --> 00:49:23,800
Speaker 2: as the fourth and longest serving incarnation of the Doctor

925
00:49:24,320 --> 00:49:27,480
Speaker 2: in Doctor Who from nineteen seventy four to nineteen eighty one.

926
00:49:28,080 --> 00:49:31,000
Speaker 2: And there have been so many great doctors over the years,

927
00:49:31,000 --> 00:49:34,080
Speaker 2: but I think Baker still stands out as one of

928
00:49:34,080 --> 00:49:36,239
Speaker 2: the most iconic. And I think for me, he's like,

929
00:49:36,360 --> 00:49:39,719
Speaker 2: this is my Doctor Who. If I'm ever if I

930
00:49:39,719 --> 00:49:41,880
Speaker 2: remember in a room and there's a Doctor Who episode

931
00:49:41,880 --> 00:49:44,680
Speaker 2: playing and it's Tom Baker, I'm just drawn in. I've

932
00:49:44,680 --> 00:49:47,480
Speaker 2: got to see what he's gonna do. What's he's gonna says?

933
00:49:47,600 --> 00:49:48,279
Speaker 2: He's my go to.

934
00:49:48,880 --> 00:49:51,040
Speaker 3: Uh yeah, I think I know way less Doctor Who

935
00:49:51,080 --> 00:49:53,000
Speaker 3: than you do, but I do think of them. I

936
00:49:53,000 --> 00:49:56,120
Speaker 3: do think of him as the doctor among many doctors.

937
00:49:56,560 --> 00:49:59,480
Speaker 2: Yeah, so you know he's he can play it all.

938
00:49:59,520 --> 00:50:04,320
Speaker 2: He can be sick, obviously. He can also play malicious characters,

939
00:50:04,920 --> 00:50:07,239
Speaker 2: such as in seventy three's The Vault of Horror and

940
00:50:07,280 --> 00:50:09,839
Speaker 2: also The Golden Voyage of Sinbad from the same year.

941
00:50:10,400 --> 00:50:13,440
Speaker 2: He can also play serious really well. And you mentioned

942
00:50:13,520 --> 00:50:17,080
Speaker 2: his role as Resputant and Nicholas and Alexandra from nineteen

943
00:50:17,120 --> 00:50:19,520
Speaker 2: seventy two, for which he was nominated for a Golden Globe.

944
00:50:19,760 --> 00:50:22,239
Speaker 3: He is mesmerizing in that role.

945
00:50:23,200 --> 00:50:24,879
Speaker 2: That's one I still need to see. I haven't seen

946
00:50:24,920 --> 00:50:27,000
Speaker 2: that one, but I have seen The Golden Voyage of

947
00:50:27,040 --> 00:50:28,560
Speaker 2: sindbad D.

948
00:50:28,680 --> 00:50:31,239
Speaker 3: That's a good one. It's got some great monsters in it.

949
00:50:32,200 --> 00:50:34,759
Speaker 2: All right. And finally, the composer for this film is

950
00:50:34,960 --> 00:50:38,680
Speaker 2: Justin Cain Burnett born nineteen seventy three, American film and

951
00:50:38,760 --> 00:50:41,839
Speaker 2: video game music composer who apparently worked under Hans Zimmer

952
00:50:42,080 --> 00:50:44,320
Speaker 2: early in his career, and he's gone on to score

953
00:50:44,400 --> 00:50:47,120
Speaker 2: numerous genre pictures such as two thousand and fives in

954
00:50:47,160 --> 00:50:50,399
Speaker 2: American Haunting and some fairly big TV projects as well,

955
00:50:50,440 --> 00:50:53,280
Speaker 2: like The Patient, in addition to working in the musical

956
00:50:53,280 --> 00:50:55,719
Speaker 2: department on some pretty big films by the likes of

957
00:50:55,719 --> 00:50:58,800
Speaker 2: Michael Bay and Tony Scott and Ridley Scott.

958
00:50:59,040 --> 00:51:01,319
Speaker 3: I don't think the music and this is bad, though

959
00:51:01,480 --> 00:51:04,760
Speaker 3: sometimes it's kind of a funny fit. Like the opening

960
00:51:04,880 --> 00:51:08,320
Speaker 3: fanfare sounds to me a lot like the music from

961
00:51:08,440 --> 00:51:11,920
Speaker 3: a sports movie. It sounds like, oh, you know, Johnny's

962
00:51:11,960 --> 00:51:14,359
Speaker 3: running for the touchdown. You know they finally put him

963
00:51:14,360 --> 00:51:16,919
Speaker 3: in and he's gonna save the team season.

964
00:51:17,200 --> 00:51:20,000
Speaker 2: Yeah, or it's just kind of like I mean, it's

965
00:51:20,040 --> 00:51:23,760
Speaker 2: like I've said before. You know, sometimes the film's musical

966
00:51:23,760 --> 00:51:26,600
Speaker 2: score needs to kind of feel invisible. It's just working

967
00:51:26,640 --> 00:51:28,880
Speaker 2: in the background doing its thing. And you know, I

968
00:51:28,880 --> 00:51:31,560
Speaker 2: guess that's basically what the score here does.

969
00:51:40,920 --> 00:51:43,040
Speaker 3: All right, Well, are you ready to talk about the plot?

970
00:51:43,360 --> 00:51:44,520
Speaker 2: Oh? Yes, let's do it.

971
00:51:45,000 --> 00:51:48,320
Speaker 3: So the movie starts with something that absolutely feels tacked

972
00:51:48,360 --> 00:51:52,879
Speaker 3: on in post production. It's some voiceover narration playing over

973
00:51:52,960 --> 00:51:57,080
Speaker 3: a dismal gray screen with some wisps of CGI missed,

974
00:51:58,000 --> 00:52:00,239
Speaker 3: and it's just an old man's voice. I don't know

975
00:52:00,280 --> 00:52:04,080
Speaker 3: who's talking here, but it says the Empire of Ismir

976
00:52:04,280 --> 00:52:07,960
Speaker 3: has long been a divided land ruled by the Mages,

977
00:52:08,120 --> 00:52:12,399
Speaker 3: an elite group of magic users. The lowly commoners those

978
00:52:12,440 --> 00:52:17,120
Speaker 3: without magic, are little more than slaves. Izmir's young Empress,

979
00:52:17,160 --> 00:52:21,480
Speaker 3: Savina wishes equality and prosperity for all, but the evil

980
00:52:21,560 --> 00:52:24,080
Speaker 3: mage Profion has other intentions.

981
00:52:25,400 --> 00:52:27,799
Speaker 2: No, I have to admit it's intriguing. Imagine if they've

982
00:52:27,800 --> 00:52:28,560
Speaker 2: shown us any of this.

983
00:52:29,760 --> 00:52:32,799
Speaker 3: Yeah, so the horns start blasting. This is the part

984
00:52:32,800 --> 00:52:35,719
Speaker 3: where it sounds like football, and then we zoom over

985
00:52:35,760 --> 00:52:38,960
Speaker 3: a bunch of CGI. So we're zooming over bridges spanning

986
00:52:39,040 --> 00:52:43,680
Speaker 3: a waterway with a mini towered castle rising beyond, and

987
00:52:44,040 --> 00:52:46,680
Speaker 3: real question when we get a look at this castle,

988
00:52:46,840 --> 00:52:50,840
Speaker 3: I was genuinely wondering, is this CGI model based on

989
00:52:50,920 --> 00:52:54,279
Speaker 3: the Disney Castle image, the more elaborate one, because it

990
00:52:54,320 --> 00:52:55,040
Speaker 3: looks like it.

991
00:52:55,320 --> 00:52:58,160
Speaker 2: We are like swooping in on it. It feels like

992
00:52:58,200 --> 00:53:00,440
Speaker 2: it very much the same trajectory as we do the

993
00:53:00,680 --> 00:53:04,680
Speaker 2: Disney Castle, and the opening Disney logo sequence feels a

994
00:53:04,719 --> 00:53:05,440
Speaker 2: lot like it.

995
00:53:06,040 --> 00:53:09,080
Speaker 3: But then, perhaps fittingly for the theme, does the camera

996
00:53:09,120 --> 00:53:12,000
Speaker 3: fly into a window in one of the majestic, lofty

997
00:53:12,040 --> 00:53:14,880
Speaker 3: towers in the sky. No, it does not. Instead, we

998
00:53:15,040 --> 00:53:18,480
Speaker 3: plunge down over the surface of the moat and then

999
00:53:18,560 --> 00:53:22,000
Speaker 3: straight through the heavy iron bars of a gate leading

1000
00:53:22,040 --> 00:53:23,280
Speaker 3: into a dungeon.

1001
00:53:24,000 --> 00:53:26,239
Speaker 2: It's fitting. It's you know, we didn't really get into this,

1002
00:53:26,320 --> 00:53:29,280
Speaker 2: but it's called dungeons and dragons, so you can imagine

1003
00:53:29,320 --> 00:53:32,080
Speaker 2: producers are like, Okay, there needs to be a dungeon,

1004
00:53:32,560 --> 00:53:34,960
Speaker 2: and there needs to be a dragon, and really, if

1005
00:53:34,960 --> 00:53:36,560
Speaker 2: you could fit all of this into the first ten

1006
00:53:36,600 --> 00:53:38,120
Speaker 2: minutes of the film, that would be great.

1007
00:53:39,000 --> 00:53:41,960
Speaker 3: So the environments here, again to emphasize, are at this

1008
00:53:42,120 --> 00:53:46,960
Speaker 3: point CGI, and the animation is murky and hideous. It

1009
00:53:47,000 --> 00:53:49,480
Speaker 3: was trying to describe what these environments look like. It's

1010
00:53:49,480 --> 00:53:53,120
Speaker 3: a little difficult, but like in nineties computer game terms,

1011
00:53:53,760 --> 00:53:57,880
Speaker 3: imagine the CD ROM game Missed, but make it fugly

1012
00:53:58,080 --> 00:54:03,000
Speaker 3: instead of mysterious. So it's like mist but with the drab,

1013
00:54:03,200 --> 00:54:07,239
Speaker 3: depressing color palette of the original quake. Yes, so we

1014
00:54:07,320 --> 00:54:10,080
Speaker 3: fly through a tunnel in this dungeon into a room

1015
00:54:10,120 --> 00:54:12,759
Speaker 3: where a bunch of hooded occult servants are toiling in

1016
00:54:12,800 --> 00:54:18,000
Speaker 3: the dark. There are chains, ladders, gears, lanterns, and skulls.

1017
00:54:18,120 --> 00:54:21,759
Speaker 3: Lots of skulls just sitting around in random places. There's

1018
00:54:21,800 --> 00:54:24,040
Speaker 3: one thing that looks like a kind of a ramp

1019
00:54:24,120 --> 00:54:27,160
Speaker 3: or a gangway on top of a pipe that's pouring

1020
00:54:27,239 --> 00:54:30,040
Speaker 3: water into a big stone pool. And on the ramp

1021
00:54:30,080 --> 00:54:32,319
Speaker 3: there's just a skull sitting right in the middle of it.

1022
00:54:32,360 --> 00:54:33,720
Speaker 3: Somebody's gonna step on that.

1023
00:54:34,040 --> 00:54:36,600
Speaker 2: Like, oh, this one fell out, just put it on

1024
00:54:36,640 --> 00:54:37,320
Speaker 2: top of the box.

1025
00:54:37,480 --> 00:54:40,120
Speaker 3: There's some kind of big machine being operated, so we've

1026
00:54:40,160 --> 00:54:43,960
Speaker 3: got cultists. They're pulling chains and working levers. There's a

1027
00:54:43,960 --> 00:54:47,200
Speaker 3: big cog wheel revolving, and then in the middle of

1028
00:54:47,280 --> 00:54:50,759
Speaker 3: the room there is a three axis gimbal. So you

1029
00:54:50,840 --> 00:54:52,719
Speaker 3: might have seen these with like I don't know, used

1030
00:54:52,719 --> 00:54:55,479
Speaker 3: for astronaut training, where it's the rings that spin within

1031
00:54:55,600 --> 00:55:00,040
Speaker 3: rings along the different axes. And what's in the the

1032
00:55:00,080 --> 00:55:02,680
Speaker 3: middle is not an astronaut. It is a large black

1033
00:55:02,719 --> 00:55:04,840
Speaker 3: scepter fixed with a green jewel.

1034
00:55:05,680 --> 00:55:08,200
Speaker 2: You know, I need to throw in here. I was

1035
00:55:08,239 --> 00:55:10,799
Speaker 2: able to get my kid to watch the first like

1036
00:55:11,040 --> 00:55:14,439
Speaker 2: thirty minutes of this film with me because they're about

1037
00:55:14,440 --> 00:55:17,600
Speaker 2: to turn thirteen and they're already super into dungeons and dragons.

1038
00:55:17,840 --> 00:55:21,280
Speaker 2: You know, they've read the books, they're playing the game,

1039
00:55:21,880 --> 00:55:24,200
Speaker 2: and so it was fun to watch part of this.

1040
00:55:24,320 --> 00:55:26,759
Speaker 2: I really didn't expect or demand that they watch all

1041
00:55:26,800 --> 00:55:28,839
Speaker 2: of this film with me, but at like this point,

1042
00:55:28,880 --> 00:55:30,839
Speaker 2: they were already like, oh, it looks like they're making

1043
00:55:30,880 --> 00:55:34,560
Speaker 2: a making a magical item there, and they started spouting

1044
00:55:34,560 --> 00:55:36,600
Speaker 2: all the rules for how long it's going to take

1045
00:55:36,680 --> 00:55:38,600
Speaker 2: to make a magical weapon and so forth.

1046
00:55:38,840 --> 00:55:40,640
Speaker 3: Did this lead to frustration.

1047
00:55:42,760 --> 00:55:45,640
Speaker 2: That they did quickly realize this is not a good film,

1048
00:55:46,120 --> 00:55:50,439
Speaker 2: but they didn't seem bored. And I have to drive home.

1049
00:55:50,920 --> 00:55:54,800
Speaker 2: At this point, we are into the physical sets, practical sets,

1050
00:55:55,160 --> 00:55:58,040
Speaker 2: and it's a totally different vibe, like, yeah, I'm buying

1051
00:55:58,080 --> 00:56:00,560
Speaker 2: this as a real place and I'm intrigued what's going

1052
00:56:00,600 --> 00:56:00,960
Speaker 2: on here?

1053
00:56:01,520 --> 00:56:04,560
Speaker 3: And then also, hey, so, yeah, we've come out of

1054
00:56:04,560 --> 00:56:07,560
Speaker 3: the CGI into the real sets and we get our

1055
00:56:07,600 --> 00:56:10,400
Speaker 3: first glimpse of the main attraction, Jeremy Irons.

1056
00:56:10,520 --> 00:56:14,120
Speaker 2: Oh what an entry. It's so good. Yeah.

1057
00:56:14,120 --> 00:56:17,080
Speaker 3: So he's like an evil mage dressed in black, wearing

1058
00:56:17,160 --> 00:56:20,760
Speaker 3: a burgundy cloak, and from the very first second he appears,

1059
00:56:20,760 --> 00:56:25,160
Speaker 3: he is just squealing with raw ham energy. He comes

1060
00:56:25,280 --> 00:56:28,680
Speaker 3: waltzing down the dungeon stairs towards the scepter machine, and

1061
00:56:28,719 --> 00:56:30,920
Speaker 3: he's got his arms stretched out to the sides like

1062
00:56:30,960 --> 00:56:35,080
Speaker 3: he's doing ballet. And also off to the side, you've

1063
00:56:35,080 --> 00:56:39,120
Speaker 3: got Bruce Payne playing the henchman Damnadar, and again yeah,

1064
00:56:39,120 --> 00:56:42,000
Speaker 3: he's like bald and haughty with the with the muscle

1065
00:56:42,040 --> 00:56:45,120
Speaker 3: morph armor and the big sword and the electric blue lips.

1066
00:56:46,239 --> 00:56:49,239
Speaker 3: And then we get a close up of Profyon the

1067
00:56:49,280 --> 00:56:52,520
Speaker 3: mage here looking evil, and it's a close up like

1068
00:56:52,600 --> 00:56:55,439
Speaker 3: his face fills the entire frame and you can see

1069
00:56:55,480 --> 00:56:58,640
Speaker 3: all his pores. You can see that this must have

1070
00:56:58,719 --> 00:57:01,920
Speaker 3: been filmed in the afternoon because his mustache stubble is

1071
00:57:01,960 --> 00:57:04,759
Speaker 3: starting to come in, and you can see the way

1072
00:57:04,800 --> 00:57:07,960
Speaker 3: someone appears to have combed his eyebrows so that the

1073
00:57:08,000 --> 00:57:11,719
Speaker 3: hairs all flare upward. And then the evil music swells

1074
00:57:12,080 --> 00:57:16,080
Speaker 3: and it's clear he wants that scepter, so he steps

1075
00:57:16,120 --> 00:57:19,040
Speaker 3: forward and he sticks his hand out and zaps the

1076
00:57:19,160 --> 00:57:22,480
Speaker 3: rod with force lightning. Also you can see rob I've

1077
00:57:22,480 --> 00:57:24,560
Speaker 3: got a screenshot for you to look at here, But

1078
00:57:24,640 --> 00:57:28,200
Speaker 3: it's like he has to step over some little moats,

1079
00:57:28,480 --> 00:57:31,800
Speaker 3: little like gutters on the floor in order to get

1080
00:57:31,800 --> 00:57:33,440
Speaker 3: to the thing. He's gonna get his cloak wet.

1081
00:57:34,080 --> 00:57:36,600
Speaker 2: That's true. I mean you've got to just expect to

1082
00:57:36,600 --> 00:57:40,120
Speaker 2: get your cloak muddy and bloody and wet in these scenarios.

1083
00:57:40,360 --> 00:57:43,840
Speaker 3: Yeah, So Profion starts chanting a magic spell. It's a

1084
00:57:43,840 --> 00:57:46,240
Speaker 3: bunch of nonsense words, and we see the little Cgi

1085
00:57:46,360 --> 00:57:49,400
Speaker 3: dragons flying around inside a kind of portal in the

1086
00:57:49,440 --> 00:57:53,320
Speaker 3: gimbal machine. And then Jeremy Irons keeps ratcheting up the

1087
00:57:53,360 --> 00:57:56,120
Speaker 3: intensity and his face bones so it just goes in

1088
00:57:56,200 --> 00:57:59,400
Speaker 3: on him and he's going off. His face is getting

1089
00:57:59,480 --> 00:58:04,360
Speaker 3: weirder crazier, and something finally works with his magic. The

1090
00:58:04,440 --> 00:58:08,840
Speaker 3: machine stops spinning and Profion can approach and remove the artifact,

1091
00:58:09,120 --> 00:58:12,480
Speaker 3: and it's glowing green. It casts a sickly green light

1092
00:58:12,600 --> 00:58:15,960
Speaker 3: over his face. And oh, my lord, the expressions he

1093
00:58:16,040 --> 00:58:21,960
Speaker 3: is making here, Like he projects a quivering, overtly sexual

1094
00:58:22,080 --> 00:58:25,600
Speaker 3: ecstasy as he takes hold of the magic scepter. So

1095
00:58:25,640 --> 00:58:28,880
Speaker 3: he like grabs the rod with this electric zapping effect

1096
00:58:29,120 --> 00:58:31,120
Speaker 3: and then he holds it up in the air screaming

1097
00:58:31,360 --> 00:58:37,120
Speaker 3: yes and just like Folks, even if you don't want

1098
00:58:37,160 --> 00:58:39,560
Speaker 3: to watch the whole movie, I recommend you watch this

1099
00:58:39,680 --> 00:58:42,400
Speaker 3: scene at the beginning, just to do like the Jeremy

1100
00:58:42,400 --> 00:58:47,360
Speaker 3: Iron's Face survey, you know, add little tasting notes at all,

1101
00:58:47,440 --> 00:58:50,320
Speaker 3: the little moments where you get to see his teeth

1102
00:58:50,360 --> 00:58:54,120
Speaker 3: doing this, his tongue doing that. What's that sound he's making?

1103
00:58:54,160 --> 00:58:55,440
Speaker 3: Why is he going bad?

1104
00:58:57,120 --> 00:58:59,400
Speaker 2: It is so good. Yeah, if you watch nothing else,

1105
00:58:59,480 --> 00:59:02,560
Speaker 2: watch the fifteen minutes because you will get so much

1106
00:59:02,640 --> 00:59:05,960
Speaker 2: of this performance. Yeah. It is just oh, it is

1107
00:59:06,040 --> 00:59:10,560
Speaker 2: just a like a stiff shot of absolutely like one

1108
00:59:11,120 --> 00:59:13,520
Speaker 2: twenty percent to Jeremy irons Ham.

1109
00:59:13,840 --> 00:59:16,280
Speaker 3: Yeah, and of course it's it's Bruce Payne approved. He's

1110
00:59:16,280 --> 00:59:18,960
Speaker 3: sitting there like the you know, his lips tight together

1111
00:59:19,040 --> 00:59:20,880
Speaker 3: like yep, yep, that's my boss.

1112
00:59:22,320 --> 00:59:23,480
Speaker 2: Oh god, those lips.

1113
00:59:24,240 --> 00:59:27,520
Speaker 3: So Profion says, come Damadar, and they walk up the

1114
00:59:27,560 --> 00:59:30,000
Speaker 3: steps to a big door that has what can only

1115
00:59:30,040 --> 00:59:32,840
Speaker 3: be described as a dragon logo on it.

1116
00:59:33,360 --> 00:59:34,920
Speaker 2: Yeah. Yeah, it's like.

1117
00:59:34,920 --> 00:59:39,200
Speaker 3: Behind this door it's dragons are us. And Profion calls

1118
00:59:39,240 --> 00:59:42,600
Speaker 3: out to his terrified hooded servants. He says, release him.

1119
00:59:43,320 --> 00:59:46,200
Speaker 3: So the guys in hoods they're trembling with fear. They

1120
00:59:46,200 --> 00:59:49,120
Speaker 3: start cranking a bunch of wheels and levers and the

1121
00:59:49,200 --> 00:59:51,800
Speaker 3: door opens up to dragons r us and what do

1122
00:59:51,840 --> 00:59:54,280
Speaker 3: you know, there's a dragon inside and it starts coming out,

1123
00:59:54,720 --> 00:59:59,880
Speaker 3: and what a dragon this is. As I've said many

1124
01:00:00,040 --> 01:00:02,000
Speaker 3: times now, we're trying not to just hate on the

1125
01:00:02,040 --> 01:00:04,560
Speaker 3: movie too much, but we've got to tell you straight

1126
01:00:04,640 --> 01:00:07,000
Speaker 3: that this is some of the worst CGI I can

1127
01:00:07,040 --> 01:00:09,200
Speaker 3: think of in any major motion picture.

1128
01:00:10,160 --> 01:00:13,680
Speaker 2: Yes, oh my goodness. I mean, the dragon does not

1129
01:00:13,800 --> 01:00:18,160
Speaker 2: look good. I mean, the CGI is not good. And

1130
01:00:18,200 --> 01:00:21,440
Speaker 2: then just it's just such a generic looking dragon as well.

1131
01:00:21,760 --> 01:00:24,360
Speaker 2: I mean, especially when you consider what's already come before.

1132
01:00:24,400 --> 01:00:28,640
Speaker 2: Practically we talked about Verma Thrack's pejorative in The Dragon

1133
01:00:28,720 --> 01:00:32,000
Speaker 2: Slayer on a previous episode of Weird House cinema, like

1134
01:00:32,280 --> 01:00:35,600
Speaker 2: one of the greatest dragons ever brought to life on

1135
01:00:35,640 --> 01:00:38,440
Speaker 2: the screen. To go from something like that to something

1136
01:00:38,520 --> 01:00:40,800
Speaker 2: like this, it's just it's a travesty.

1137
01:00:41,240 --> 01:00:43,720
Speaker 3: Now. It doesn't look quite so bad at the very

1138
01:00:43,760 --> 01:00:48,080
Speaker 3: first moment because it's farther away and partially hidden in darkness.

1139
01:00:48,600 --> 01:00:51,160
Speaker 3: But then it like lunges out and it starts spitting

1140
01:00:51,200 --> 01:00:54,120
Speaker 3: fire on all the hooded cult guys and it roars

1141
01:00:54,160 --> 01:00:56,320
Speaker 3: into the camera. I think they were actually going for

1142
01:00:56,400 --> 01:00:58,960
Speaker 3: a callback to Jurassic Park. There are a couple of

1143
01:00:59,000 --> 01:01:02,760
Speaker 3: moments where it does where the CGI Dragon does a

1144
01:01:03,360 --> 01:01:06,160
Speaker 3: kind of body motion or something almost exactly like a

1145
01:01:06,200 --> 01:01:09,240
Speaker 3: shot in Jurassic Park, and it seems not accidental.

1146
01:01:09,720 --> 01:01:15,880
Speaker 2: It is often sobering to realize how early Jurassic Park

1147
01:01:15,920 --> 01:01:18,320
Speaker 2: comes out in relation to some of these films with

1148
01:01:18,360 --> 01:01:20,000
Speaker 2: bad CJI monsters. Later on.

1149
01:01:20,320 --> 01:01:24,560
Speaker 3: Yeah, but yeah, so this dragon is not finished baking,

1150
01:01:24,640 --> 01:01:26,720
Speaker 3: but no more time, it's out of the oven.

1151
01:01:26,840 --> 01:01:28,600
Speaker 2: Yeah, we gotta keet this out before Y two k.

1152
01:01:28,920 --> 01:01:32,280
Speaker 3: Yeah, and so Profion commands the dragon to approach him

1153
01:01:32,480 --> 01:01:35,720
Speaker 3: and he starts gloating. He says, yes, I control dragons now,

1154
01:01:35,760 --> 01:01:39,960
Speaker 3: and Damodar is just dripping with obsequious flattery. He's like,

1155
01:01:40,080 --> 01:01:44,200
Speaker 3: you have the power of the immortals, and Profion says

1156
01:01:44,320 --> 01:01:48,200
Speaker 3: he's snarling. He says, with a dragon army at my command,

1157
01:01:48,280 --> 01:01:51,520
Speaker 3: I can crush the impress I can control what is

1158
01:01:51,640 --> 01:01:54,120
Speaker 3: rightfully ours. I'm not gonna keep trying to do the

1159
01:01:54,200 --> 01:01:57,840
Speaker 3: Jeremy Iron's voice when I quote him. So he just

1160
01:01:57,960 --> 01:02:03,200
Speaker 3: keeps doing amazingly weird stuff with his face, voice and tongue. Here, Rob,

1161
01:02:03,240 --> 01:02:04,760
Speaker 3: this is the part where you were talking about his

1162
01:02:04,840 --> 01:02:10,360
Speaker 3: skull trying to escape, and so he's oh, and he

1163
01:02:10,440 --> 01:02:12,960
Speaker 3: also he says things that are echoing kind of the

1164
01:02:13,000 --> 01:02:15,640
Speaker 3: Emperor in Return of the Jedi. He's like, I can

1165
01:02:15,760 --> 01:02:18,680
Speaker 3: use every ounce of your rage. Yeah yeah, yeah, yeah,

1166
01:02:18,720 --> 01:02:25,160
Speaker 3: yeah yeah yeah. And unfortunately nothing gold can stay. There's

1167
01:02:25,160 --> 01:02:27,360
Speaker 3: a little pun because this is a gold dragon. Apparently

1168
01:02:28,000 --> 01:02:30,040
Speaker 3: something goes wrong and Profion.

1169
01:02:29,720 --> 01:02:31,920
Speaker 2: Keeps do they say it's a gold dragon?

1170
01:02:32,160 --> 01:02:36,240
Speaker 3: They say, they say that the impresses dragons are gold dragons.

1171
01:02:36,800 --> 01:02:38,480
Speaker 2: Well that's not right. I'm not going to get into it.

1172
01:02:39,000 --> 01:02:42,120
Speaker 2: That's that's I mean, that shouldn't be gold dragons are special.

1173
01:02:42,160 --> 01:02:43,320
Speaker 2: They're nobody's dungeon.

1174
01:02:43,600 --> 01:02:45,280
Speaker 3: Well, no, I think we do need to get into

1175
01:02:45,360 --> 01:02:48,480
Speaker 3: this later because also they bring up like red dragons

1176
01:02:48,480 --> 01:02:51,680
Speaker 3: in contrast to the gold dragons, as if like it

1177
01:02:51,760 --> 01:02:55,200
Speaker 3: was like, oh, oh red dragons, that that would be really,

1178
01:02:55,320 --> 01:02:58,360
Speaker 3: that's really something, okay.

1179
01:02:58,520 --> 01:03:01,120
Speaker 2: I mean in short, like gold ragonagons are good and

1180
01:03:01,320 --> 01:03:04,160
Speaker 2: red dragons are bad. Okay, So it's weird that we're

1181
01:03:04,200 --> 01:03:05,640
Speaker 2: dealing with a gold dragon.

1182
01:03:05,760 --> 01:03:08,960
Speaker 3: Like this, well the gold dragon here. That makes sense

1183
01:03:08,960 --> 01:03:11,720
Speaker 3: because the gold dragon does not want to obey profion

1184
01:03:11,880 --> 01:03:14,800
Speaker 3: and so it starts backing up into it cell. It's like, no, no,

1185
01:03:14,840 --> 01:03:17,880
Speaker 3: I'm not working with this guy. And then the door

1186
01:03:17,960 --> 01:03:21,000
Speaker 3: slams shut on it and like stabs it and a

1187
01:03:21,040 --> 01:03:23,920
Speaker 3: death recalling almost exactly in another callback to Return of

1188
01:03:23,960 --> 01:03:26,080
Speaker 3: the Jedi, the Demise of the Rank or in Return

1189
01:03:26,080 --> 01:03:28,720
Speaker 3: of the Jedi. That's right, they rank or it, And

1190
01:03:28,760 --> 01:03:32,880
Speaker 3: then we get to watch the dragons cgi blood spill

1191
01:03:32,920 --> 01:03:35,880
Speaker 3: out and pool on the floor and then run down

1192
01:03:36,000 --> 01:03:40,560
Speaker 3: the stairs, which looks absolutely hilarious. And I have questions

1193
01:03:40,560 --> 01:03:44,440
Speaker 3: about shots like this in the movies, like how expensive

1194
01:03:44,480 --> 01:03:47,480
Speaker 3: would it have been to actually just pour some red

1195
01:03:47,560 --> 01:03:51,400
Speaker 3: krosyrup blood down a staircase versus the cost of computer

1196
01:03:51,560 --> 01:03:55,440
Speaker 3: animating flowing blood in the year two thousand. Why would

1197
01:03:55,440 --> 01:03:56,200
Speaker 3: this be done?

1198
01:03:56,480 --> 01:03:58,240
Speaker 2: Yeah, I mean, I guess we have to be at

1199
01:03:58,240 --> 01:04:01,920
Speaker 2: that tipping point here where the digital effect is cheaper

1200
01:04:01,960 --> 01:04:04,240
Speaker 2: than the practical effect, even though the digital does not

1201
01:04:04,360 --> 01:04:05,720
Speaker 2: look nearly as believable.

1202
01:04:06,240 --> 01:04:09,680
Speaker 3: How could that even be? Though? Like how much does

1203
01:04:09,720 --> 01:04:11,880
Speaker 3: it cost to make a bucket of fake blood? And

1204
01:04:11,960 --> 01:04:13,920
Speaker 3: just I mean, I guess the cost of the labor

1205
01:04:13,960 --> 01:04:15,840
Speaker 3: to clean it up after you've spilled it?

1206
01:04:15,920 --> 01:04:18,120
Speaker 2: Like yeah, I don't know. I mean maybe it's it's

1207
01:04:18,160 --> 01:04:20,240
Speaker 2: there in the budget cheek where they're like, we're already

1208
01:04:20,240 --> 01:04:22,400
Speaker 2: paying for these digital effects, let's have them do the blood.

1209
01:04:22,480 --> 01:04:25,680
Speaker 2: I don't know, they can't afford some just good Kensington

1210
01:04:25,760 --> 01:04:27,320
Speaker 2: Gore whip stuff on the spot.

1211
01:04:27,760 --> 01:04:32,760
Speaker 3: Bizarre anyway, Jeremy Ironsy like groans with frustration. It's like

1212
01:04:32,960 --> 01:04:35,640
Speaker 3: not again, and he puts his head in his hands.

1213
01:04:35,640 --> 01:04:39,600
Speaker 3: He just foiled. So he says, this is the part

1214
01:04:39,600 --> 01:04:42,400
Speaker 3: where he says, we shall have to modify our plans.

1215
01:04:42,880 --> 01:04:44,840
Speaker 3: He says they're going to summon the High Council of

1216
01:04:44,920 --> 01:04:48,000
Speaker 3: Mages and that he's going to try to turn them

1217
01:04:48,160 --> 01:04:51,320
Speaker 3: against the Impress, and Damadar says it will be done.

1218
01:04:52,480 --> 01:04:55,280
Speaker 3: And then oh, when the cgi blood hits the water below,

1219
01:04:55,320 --> 01:04:58,200
Speaker 3: the water catches fire, and then the fire runs out

1220
01:04:58,200 --> 01:05:00,680
Speaker 3: of the dungeon into the moat. All aroun on the castle.

1221
01:05:00,720 --> 01:05:03,440
Speaker 3: So the whole city can see the fire, and they

1222
01:05:03,480 --> 01:05:07,240
Speaker 3: gather around the moat to look at it.

1223
01:05:06,160 --> 01:05:09,800
Speaker 2: But they're not like super concerned. It's kind of like, oh,

1224
01:05:09,200 --> 01:05:13,120
Speaker 2: the river's on fire again. You know, It's just this happens.

1225
01:05:13,200 --> 01:05:15,600
Speaker 2: This is just the kind of ecological nightmare we're living in.

1226
01:05:15,760 --> 01:05:19,600
Speaker 3: It's the Cuyahoga. Yeah. So on the banks of the

1227
01:05:19,640 --> 01:05:23,200
Speaker 3: moat here we meet our two protagonists. This is our

1228
01:05:23,280 --> 01:05:26,479
Speaker 3: pair of buddy rogues. This is Ridley and Snails, Justin

1229
01:05:26,520 --> 01:05:31,080
Speaker 3: Whalen and Marlon Wayans. Ridley's first line commenting on the

1230
01:05:31,080 --> 01:05:34,520
Speaker 3: water catching fire, he says, I'm telling you it's got

1231
01:05:34,560 --> 01:05:40,280
Speaker 3: to be some twisted magic experiment gone seriously wrong. And

1232
01:05:40,320 --> 01:05:43,320
Speaker 3: you know, Snails is less He's got less of a

1233
01:05:43,360 --> 01:05:46,480
Speaker 3: bee in his bondet about this. He's just like, you know, Ridley,

1234
01:05:46,480 --> 01:05:49,360
Speaker 3: why are you always mad at the Mages? And Ridley says,

1235
01:05:49,760 --> 01:05:51,760
Speaker 3: I'd just love to find a way to give those

1236
01:05:51,800 --> 01:05:56,480
Speaker 3: mages some payback. So, as I said earlier in this movie,

1237
01:05:56,600 --> 01:06:01,760
Speaker 3: Mages seems to be an economic class are the rich,

1238
01:06:02,280 --> 01:06:05,600
Speaker 3: seemingly whether or not they're personally really like a wizard.

1239
01:06:06,000 --> 01:06:08,640
Speaker 3: And Ridley and Snails, on the other hand, are representatives

1240
01:06:08,680 --> 01:06:12,320
Speaker 3: of the common people. Ridley is a sort of idealistic

1241
01:06:12,600 --> 01:06:15,040
Speaker 3: class warrior who wants to fight for the poor and

1242
01:06:15,080 --> 01:06:18,560
Speaker 3: stick it to the mages, and Snails is less idealistic.

1243
01:06:18,600 --> 01:06:20,920
Speaker 3: The way he explains it, he's like, the world's never

1244
01:06:20,960 --> 01:06:23,480
Speaker 3: going to change. There are the haves, the have nots,

1245
01:06:23,520 --> 01:06:26,640
Speaker 3: and the gotta gets and we two rogues. We are

1246
01:06:26,640 --> 01:06:29,880
Speaker 3: in the last group where the gotta gets. But Ridley

1247
01:06:29,920 --> 01:06:32,240
Speaker 3: comes up with an idea of what they should do

1248
01:06:32,360 --> 01:06:34,760
Speaker 3: to punish the mages for setting fire to the river.

1249
01:06:35,080 --> 01:06:37,560
Speaker 3: They're going to pull off a heist at the magic school,

1250
01:06:37,680 --> 01:06:42,880
Speaker 3: which is in the highest tower in the castle. And also,

1251
01:06:42,880 --> 01:06:44,520
Speaker 3: I'm not going to narrate all this as we go

1252
01:06:44,520 --> 01:06:46,240
Speaker 3: on throughout the movie, but just be aware that in

1253
01:06:46,320 --> 01:06:49,480
Speaker 3: every scene with Ridley and Snails, there's a lot of

1254
01:06:49,480 --> 01:06:52,760
Speaker 3: what is supposed to be comedic banter and like you know,

1255
01:06:52,840 --> 01:06:56,440
Speaker 3: comedic back and forth and zany character gags, and I'm

1256
01:06:56,440 --> 01:06:58,400
Speaker 3: trying to be generous, but most of it does not

1257
01:06:58,560 --> 01:07:00,920
Speaker 3: work very well, and it is rarely very funny.

1258
01:07:01,520 --> 01:07:04,760
Speaker 2: So they have decided that they are going to get

1259
01:07:04,800 --> 01:07:07,720
Speaker 2: their revenge by breaking into the stronghold of some of

1260
01:07:07,720 --> 01:07:10,920
Speaker 2: the most powerful and dangerous people on the planet.

1261
01:07:11,000 --> 01:07:13,160
Speaker 3: Okay, yes, and they're gonna steal from them, all right.

1262
01:07:13,280 --> 01:07:14,760
Speaker 2: Sounds good, sounds like a good plant.

1263
01:07:23,400 --> 01:07:25,200
Speaker 3: So from here we move on to a scene that

1264
01:07:25,280 --> 01:07:28,760
Speaker 3: looks like it was filmed in the opera house in Amadeas.

1265
01:07:28,880 --> 01:07:32,680
Speaker 3: It's like a beautiful interior location, but this is the

1266
01:07:32,720 --> 01:07:35,680
Speaker 3: Council of Mages, and it's got box seats full of

1267
01:07:35,720 --> 01:07:38,320
Speaker 3: old men and cloaks, and there appears to be a

1268
01:07:38,360 --> 01:07:42,120
Speaker 3: sort of floor debate going on between Profion and a

1269
01:07:42,160 --> 01:07:46,120
Speaker 3: guy who's sort of Impress Savena's ally named Asmath. So

1270
01:07:46,920 --> 01:07:49,080
Speaker 3: there are a lot of old men yelling in the background,

1271
01:07:49,080 --> 01:07:51,840
Speaker 3: but basically the gist of the scene is that Profion

1272
01:07:51,960 --> 01:07:54,600
Speaker 3: is saying the Empress is going to dissolve the Council

1273
01:07:54,640 --> 01:07:58,600
Speaker 3: of Mages and seize power for herself. He explains that

1274
01:07:58,680 --> 01:08:01,320
Speaker 3: she wants to do this because of her naive belief

1275
01:08:01,640 --> 01:08:05,080
Speaker 3: that she can bring justice and equality to all the people,

1276
01:08:05,640 --> 01:08:08,800
Speaker 3: and then as Math tries to calm him down, he's like,

1277
01:08:09,000 --> 01:08:11,720
Speaker 3: oh no, no, no. In time with our council, she

1278
01:08:11,800 --> 01:08:15,320
Speaker 3: will come to see why things cannot be changed. And

1279
01:08:15,360 --> 01:08:18,000
Speaker 3: then Profion says, maybe so, but is that a risk

1280
01:08:18,040 --> 01:08:21,479
Speaker 3: you are willing to take? Her revolutionary ideas have already

1281
01:08:21,520 --> 01:08:24,720
Speaker 3: taken root among the people. In time, her influence will

1282
01:08:24,760 --> 01:08:27,280
Speaker 3: grow as the months go by. She will learn to

1283
01:08:27,400 --> 01:08:30,800
Speaker 3: master the powers of her scepter, and when she does,

1284
01:08:30,880 --> 01:08:33,160
Speaker 3: I have no doubt she will use it to enforce

1285
01:08:33,200 --> 01:08:38,920
Speaker 3: her changes upon us. And so, you know, they're arguing

1286
01:08:38,920 --> 01:08:41,680
Speaker 3: about this political situation, but I feel like we need

1287
01:08:41,720 --> 01:08:43,880
Speaker 3: to go one step of we need to go one

1288
01:08:43,920 --> 01:08:46,960
Speaker 3: step back. What does the Council of Mages do?

1289
01:08:47,600 --> 01:08:47,680
Speaker 2: Like?

1290
01:08:47,840 --> 01:08:50,280
Speaker 3: What are its powers and agenda currently?

1291
01:08:50,560 --> 01:08:52,200
Speaker 2: Yeah? What are the checks and balances? Right?

1292
01:08:53,080 --> 01:08:56,599
Speaker 3: Anyway? Profion urges the council to vote to remove the

1293
01:08:56,640 --> 01:09:00,120
Speaker 3: scepter from the Empress's control and destroy the threat of

1294
01:09:00,200 --> 01:09:03,120
Speaker 3: revolution forever. Is this supposed to be the scepter that

1295
01:09:03,200 --> 01:09:06,040
Speaker 3: he was already trying to use in the scene before.

1296
01:09:06,400 --> 01:09:10,519
Speaker 2: I think I become increasingly confused about scepters in this movie.

1297
01:09:11,040 --> 01:09:14,080
Speaker 2: It starts out so clear, like there's the scepter, it's

1298
01:09:14,120 --> 01:09:16,439
Speaker 2: got a you know, a green gem on it, trying

1299
01:09:16,439 --> 01:09:18,160
Speaker 2: to use it to control the dragons. But then there's

1300
01:09:18,200 --> 01:09:20,840
Speaker 2: talk of her scepter. Later on, there's a skeleton with

1301
01:09:20,880 --> 01:09:23,840
Speaker 2: a scepter. Are these a rod? Are they? Oh? That's

1302
01:09:23,840 --> 01:09:27,960
Speaker 2: the rod, that's the row rod. Okay, but I found

1303
01:09:27,960 --> 01:09:32,080
Speaker 2: myself confused at multiple times, like rod, scepter, multiple scepters,

1304
01:09:32,200 --> 01:09:33,960
Speaker 2: multiple rods. I don't know.

1305
01:09:34,360 --> 01:09:36,960
Speaker 3: Only a fool would confuse a rod with a sceptor.

1306
01:09:39,240 --> 01:09:39,519
Speaker 2: Uh.

1307
01:09:39,600 --> 01:09:41,599
Speaker 3: And then also we get a scene where we meet

1308
01:09:41,640 --> 01:09:46,240
Speaker 3: the Empress somewhere else in the castle. So thora Birch

1309
01:09:46,400 --> 01:09:49,080
Speaker 3: is she's the Impress. She's she's kind of goth in

1310
01:09:49,120 --> 01:09:51,840
Speaker 3: this scene, but in a later scene she's got some

1311
01:09:52,600 --> 01:09:53,240
Speaker 3: are they cool?

1312
01:09:53,360 --> 01:09:53,559
Speaker 4: Yeah?

1313
01:09:53,560 --> 01:09:56,840
Speaker 3: I guess cool cool weird costumes in this movie. And

1314
01:09:56,880 --> 01:09:59,439
Speaker 3: this this scene she's kind of goth with like pins

1315
01:09:59,439 --> 01:10:02,880
Speaker 3: stuck in her Later on she'll be in like bizarre

1316
01:10:03,560 --> 01:10:04,679
Speaker 3: gold chain mail.

1317
01:10:05,240 --> 01:10:06,840
Speaker 2: She looks more comfortable here for sure.

1318
01:10:07,040 --> 01:10:11,160
Speaker 3: Yes, But this scene was actually shot in a very

1319
01:10:11,160 --> 01:10:13,439
Speaker 3: beautiful location. Once again, I think this must be some

1320
01:10:13,560 --> 01:10:16,479
Speaker 3: kind of cathedral or basilica somewhere. This doesn't look like

1321
01:10:16,520 --> 01:10:20,920
Speaker 3: a movie set anyway. She's being advised by a kindly

1322
01:10:21,000 --> 01:10:25,200
Speaker 3: older mage named Vilden, and he explains that the mages

1323
01:10:25,240 --> 01:10:27,519
Speaker 3: are afraid of her because she believes in freedom and

1324
01:10:27,600 --> 01:10:30,479
Speaker 3: equality for all the people, and so they're trying to

1325
01:10:30,520 --> 01:10:32,920
Speaker 3: limit her power. And he's got a way for her

1326
01:10:32,960 --> 01:10:35,920
Speaker 3: to outsmart the mage counsel and get the upper hand,

1327
01:10:36,280 --> 01:10:39,280
Speaker 3: and that is to acquire the rod. You know the rod. Yes,

1328
01:10:39,960 --> 01:10:42,800
Speaker 3: it's the mcguffin, the main mcguffin of the movie. She's

1329
01:10:42,840 --> 01:10:46,880
Speaker 3: got to acquire the Rod of Savriel, which controls dragons,

1330
01:10:47,000 --> 01:10:51,640
Speaker 3: but unlike her scepter, it controls red dragons. Here's what

1331
01:10:51,680 --> 01:10:53,679
Speaker 3: I was talking about. And in the scene they don't

1332
01:10:53,720 --> 01:10:56,400
Speaker 3: explain it. Is this something that the audience is supposed

1333
01:10:56,400 --> 01:11:01,040
Speaker 3: to understand because it's just like, oh, red dragons. Oh wow. Okay.

1334
01:11:02,439 --> 01:11:04,240
Speaker 2: By the way, I want to add that it does

1335
01:11:04,360 --> 01:11:07,360
Speaker 2: kind of feel like every NPC we encounter has a

1336
01:11:07,439 --> 01:11:10,400
Speaker 2: name made up on the fly by the DM where

1337
01:11:10,479 --> 01:11:13,840
Speaker 2: the game's like. And then the mage introduces his name

1338
01:11:13,880 --> 01:11:17,960
Speaker 2: as Vilden. Wilden is his name, and let me write

1339
01:11:17,960 --> 01:11:19,240
Speaker 2: that down, so remember.

1340
01:11:19,880 --> 01:11:23,080
Speaker 3: The exact same thought. The naming game is not strong

1341
01:11:23,200 --> 01:11:32,160
Speaker 3: here Wilden yes, a Profion Yeah, anyway, Profion overhears this

1342
01:11:32,200 --> 01:11:35,280
Speaker 3: conversation with the help of a little magical spy creature

1343
01:11:35,360 --> 01:11:37,120
Speaker 3: is where is this supposed to be a mefit?

1344
01:11:37,680 --> 01:11:41,160
Speaker 2: You think, yes, I did not make this connection, but

1345
01:11:41,600 --> 01:11:43,800
Speaker 2: my kid did. They were like, oh the method.

1346
01:11:43,920 --> 01:11:46,040
Speaker 3: I think that could be right. Yeah, okay. Anyway, so

1347
01:11:46,120 --> 01:11:48,880
Speaker 3: he's got a little like spy, a little gray spy

1348
01:11:49,000 --> 01:11:51,680
Speaker 3: demon that runs around peeping on things, and then he

1349
01:11:51,840 --> 01:11:54,920
Speaker 3: and then he knows immediately. So Jeremy Irons is like,

1350
01:11:54,960 --> 01:11:58,120
Speaker 3: I must have the Rod of zaff Reel. He says,

1351
01:11:58,160 --> 01:11:59,800
Speaker 3: with one wave of it, he's going to be able

1352
01:11:59,840 --> 01:12:02,479
Speaker 3: to hop all the Empress and bring down that useless

1353
01:12:02,520 --> 01:12:06,200
Speaker 3: Council of idiots with her. So he sends Damodar to

1354
01:12:06,200 --> 01:12:09,200
Speaker 3: the Magic School to steal the scroll that shows the

1355
01:12:09,240 --> 01:12:12,680
Speaker 3: location of the Rod of Savriel from Vilden and then

1356
01:12:12,760 --> 01:12:16,439
Speaker 3: kill Vilden too. So here's where our characters start kind

1357
01:12:16,439 --> 01:12:19,320
Speaker 3: of colliding with each other. So Ridley and Snails they

1358
01:12:19,400 --> 01:12:22,920
Speaker 3: sneak into the Magic School to steal things in the night.

1359
01:12:23,000 --> 01:12:25,400
Speaker 3: Of course, they're using rope and grappling hooks. You know,

1360
01:12:25,479 --> 01:12:28,840
Speaker 3: they're rogues, that's what you do. They make a lot

1361
01:12:28,880 --> 01:12:31,519
Speaker 3: of jokes about how Snails, I think is afraid of heights,

1362
01:12:31,600 --> 01:12:34,880
Speaker 3: which is not great for a rogue.

1363
01:12:34,960 --> 01:12:38,080
Speaker 2: But rogues can always go under or through, they don't

1364
01:12:38,120 --> 01:12:38,760
Speaker 2: have to go over.

1365
01:12:39,120 --> 01:12:41,840
Speaker 3: I guess that's true. And then there's some gags here

1366
01:12:41,840 --> 01:12:45,640
Speaker 3: with like big foam dragon teeth and magical boxes of

1367
01:12:45,640 --> 01:12:49,080
Speaker 3: illusions and stuff. Meanwhile, in the room next door we

1368
01:12:49,120 --> 01:12:52,920
Speaker 3: meet another character. This is Vilden's assistant, Marina, who is

1369
01:12:52,960 --> 01:12:56,360
Speaker 3: a young mage in training. Yes, her name is Marina

1370
01:12:56,439 --> 01:13:00,160
Speaker 3: like the place where boats go and Marina is. It's

1371
01:13:00,240 --> 01:13:03,600
Speaker 3: very intelligent, but she is also snobby and condescending to

1372
01:13:03,680 --> 01:13:07,720
Speaker 3: non mages. So Vilden and Marina are looking for the

1373
01:13:07,720 --> 01:13:10,200
Speaker 3: scroll that says where the rod is, because you know,

1374
01:13:10,240 --> 01:13:13,120
Speaker 3: you got to get the rod, and eventually they find it,

1375
01:13:13,160 --> 01:13:16,760
Speaker 3: but they are interrupted when Marina catches Ridley and Snails

1376
01:13:16,800 --> 01:13:20,200
Speaker 3: in the middle of like loading up their lutesacks. She

1377
01:13:20,360 --> 01:13:23,040
Speaker 3: ties them up with a magical lasso, but then is

1378
01:13:23,080 --> 01:13:26,360
Speaker 3: interrupted once again when Damodar shows up to kill Vildan

1379
01:13:26,479 --> 01:13:31,280
Speaker 3: and take the scroll. So Damodar kills Vilden and Marina

1380
01:13:31,439 --> 01:13:34,880
Speaker 3: escapes through a magical portal, the first of many, with

1381
01:13:35,040 --> 01:13:38,760
Speaker 3: the scroll, inadvertently pulling Ridley and Snails along behind her

1382
01:13:38,800 --> 01:13:41,640
Speaker 3: with the lasso. This portal takes them out into the

1383
01:13:41,680 --> 01:13:44,840
Speaker 3: streets of the city below. And then while running through

1384
01:13:44,840 --> 01:13:48,080
Speaker 3: the streets pursued by the bad guys, our three young

1385
01:13:48,120 --> 01:13:50,960
Speaker 3: heroes bump into a dwarf warrior who I believe is

1386
01:13:51,000 --> 01:13:52,760
Speaker 3: sleeping in a big compost heap.

1387
01:13:53,240 --> 01:13:56,439
Speaker 2: Yes, because according to this film, that's what dwarfs do.

1388
01:13:56,720 --> 01:14:00,320
Speaker 2: They drink, they eat, they don't brush their teeth, and

1389
01:14:00,360 --> 01:14:02,200
Speaker 2: they sleep on piles.

1390
01:14:01,840 --> 01:14:06,400
Speaker 3: Of garbage on compost. Yeah. So now our three heroes,

1391
01:14:06,439 --> 01:14:08,639
Speaker 3: and then now also the dwarf fighter, who we will

1392
01:14:08,640 --> 01:14:11,800
Speaker 3: come to learn is named Elwood. They all dive down

1393
01:14:11,960 --> 01:14:15,080
Speaker 3: into a drain pipe in the sewer to escape as

1394
01:14:15,160 --> 01:14:18,240
Speaker 3: Damodar closes in. So Elwood is just a member of

1395
01:14:18,240 --> 01:14:20,639
Speaker 3: the party. Now, it's that fast. They just bump into

1396
01:14:20,720 --> 01:14:23,000
Speaker 3: him in some garbage, and now he's part of the party.

1397
01:14:23,120 --> 01:14:25,200
Speaker 2: That was his call to adventure. It was just somebody

1398
01:14:25,240 --> 01:14:28,679
Speaker 2: bumped into him. Now we're hanging out.

1399
01:14:28,720 --> 01:14:30,880
Speaker 3: And here's where we get one of Bruce Payne's most

1400
01:14:31,080 --> 01:14:34,400
Speaker 3: unbelievable line deliveries. I wrote down exactly what it is.

1401
01:14:34,600 --> 01:14:38,240
Speaker 3: He says, post brigades at every sewer entrance and exit.

1402
01:14:38,600 --> 01:14:41,120
Speaker 3: I want them found now. But you will just not

1403
01:14:41,400 --> 01:14:42,760
Speaker 3: believe how he says that.

1404
01:14:43,240 --> 01:14:45,679
Speaker 2: He says it like it's his only line in the film.

1405
01:14:46,080 --> 01:14:52,040
Speaker 3: Yeah. Yeah. Anyway, later we learned that Marina has been

1406
01:14:52,160 --> 01:14:54,840
Speaker 3: framed for the murder of her teacher, and the four

1407
01:14:54,880 --> 01:14:58,600
Speaker 3: heroes decide that they've got to work together. Ooh, and

1408
01:14:58,640 --> 01:15:01,120
Speaker 3: then here's where we get that great ludicrous scene where

1409
01:15:01,200 --> 01:15:06,000
Speaker 3: Jeremy Irons punishes Bruce pain for letting them escape, so

1410
01:15:06,080 --> 01:15:10,880
Speaker 3: he puts CGI snakes in Bruce Payne's ears. I don't know,

1411
01:15:10,960 --> 01:15:13,559
Speaker 3: how would you describe the parasite implantation scene?

1412
01:15:13,720 --> 01:15:16,920
Speaker 2: Yeah, I don't know. Weird CGI creature. I'm not sure

1413
01:15:16,960 --> 01:15:20,360
Speaker 2: how it gets in exactly, Like does he shove it

1414
01:15:20,360 --> 01:15:20,920
Speaker 2: in his mouth?

1415
01:15:21,880 --> 01:15:24,160
Speaker 3: He's like zaps it into him somehow. But then we

1416
01:15:24,200 --> 01:15:27,720
Speaker 3: see it like running around underneath his skin, and then

1417
01:15:27,880 --> 01:15:29,960
Speaker 3: it comes up to his ears and his ears get

1418
01:15:30,000 --> 01:15:32,760
Speaker 3: all swollen, and then the snakes pop out of his

1419
01:15:32,880 --> 01:15:34,880
Speaker 3: ears and he looks unhappy.

1420
01:15:35,520 --> 01:15:38,839
Speaker 2: Yeah, as far as I know, this is not something.

1421
01:15:38,840 --> 01:15:40,720
Speaker 2: It may be something in D and D. There are

1422
01:15:40,760 --> 01:15:42,160
Speaker 2: a lot of creatures in D and D, and this

1423
01:15:42,240 --> 01:15:44,479
Speaker 2: is not what I'm familiar with it in any case,

1424
01:15:45,400 --> 01:15:48,280
Speaker 2: But I mean, the CGI is not the best, but

1425
01:15:48,360 --> 01:15:51,120
Speaker 2: it's also not the worst, even by this movie's standards

1426
01:15:51,160 --> 01:15:54,920
Speaker 2: it and pain does a good job selling like the

1427
01:15:55,479 --> 01:15:59,800
Speaker 2: otherworldly pain of having this creature inside his head. And

1428
01:15:59,840 --> 01:16:03,360
Speaker 2: I have to say you included a very nice screenshot

1429
01:16:03,400 --> 01:16:06,240
Speaker 2: here where Jeremy Irons is looming behind him and you

1430
01:16:06,360 --> 01:16:12,200
Speaker 2: have these like the osuary con structures like crowning his head,

1431
01:16:12,439 --> 01:16:16,519
Speaker 2: like horns of like skeletal horns. It's it's really cool.

1432
01:16:16,800 --> 01:16:20,920
Speaker 3: Yeah. Oh yeah, another actually great interior location here, but yeah,

1433
01:16:21,000 --> 01:16:22,760
Speaker 3: for a ridiculous scene.

1434
01:16:23,160 --> 01:16:25,880
Speaker 2: And it's like he's being punished with a fate worse

1435
01:16:25,960 --> 01:16:29,560
Speaker 2: than death for like a minor screw. Yeah.

1436
01:16:29,640 --> 01:16:31,120
Speaker 3: Yeah.

1437
01:16:31,240 --> 01:16:31,400
Speaker 2: Oh.

1438
01:16:31,439 --> 01:16:34,880
Speaker 3: We also learned here that the Impress's tracker, Norda, is

1439
01:16:34,920 --> 01:16:37,160
Speaker 3: in pursuit of the scroll as well. So this is

1440
01:16:37,200 --> 01:16:39,920
Speaker 3: how we're gonna work what seems like a ranger character.

1441
01:16:39,680 --> 01:16:42,320
Speaker 2: In Yeah, yeah, she's a ranger and he's like, just

1442
01:16:42,320 --> 01:16:45,120
Speaker 2: follow her. This just got a lot easier. Also, that's

1443
01:16:45,240 --> 01:16:46,920
Speaker 2: that's the why I put the snake in your head,

1444
01:16:46,960 --> 01:16:48,559
Speaker 2: so we can follow the tracker.

1445
01:16:49,760 --> 01:16:52,160
Speaker 3: So now we go to a bar, which is basically

1446
01:16:52,240 --> 01:16:55,559
Speaker 3: the most icly canteena scene. We just see a lot

1447
01:16:55,560 --> 01:16:57,920
Speaker 3: of people, a lot of different kinds of creatures running

1448
01:16:57,960 --> 01:17:02,120
Speaker 3: around drinking, you know, any antics. People just dancing, just

1449
01:17:02,200 --> 01:17:04,200
Speaker 3: kind of dancing like they're at a club kind of.

1450
01:17:04,320 --> 01:17:08,080
Speaker 3: It doesn't necessarily look like the medieval aesthetic of a

1451
01:17:08,160 --> 01:17:09,599
Speaker 3: dance dance going on.

1452
01:17:09,840 --> 01:17:12,960
Speaker 2: It's a weird scene because some of the creatures just

1453
01:17:12,960 --> 01:17:16,280
Speaker 2: look like dudes and face paint. Others look like like

1454
01:17:16,520 --> 01:17:20,200
Speaker 2: serious attempts to create something like goblins or orcs. Yeah,

1455
01:17:20,240 --> 01:17:23,000
Speaker 2: and others look like they jumped off the page of

1456
01:17:23,160 --> 01:17:25,000
Speaker 2: the Garden of Earthly Delights, you know.

1457
01:17:25,040 --> 01:17:28,080
Speaker 3: Yes, yeah, yeah. This is also the scene where they're

1458
01:17:28,120 --> 01:17:30,280
Speaker 3: trying to figure out how much chicken they can fit

1459
01:17:30,320 --> 01:17:31,519
Speaker 3: in Ellwood's.

1460
01:17:31,040 --> 01:17:33,880
Speaker 2: Beard, yes, and Dancer is a.

1461
01:17:33,800 --> 01:17:37,680
Speaker 3: Lot yeah, so he's trying to tell stories while he's

1462
01:17:37,720 --> 01:17:40,400
Speaker 3: eating like a chicken hole. You know, that's a joke,

1463
01:17:40,520 --> 01:17:42,479
Speaker 3: like you just take the whole chicken and shove it

1464
01:17:42,479 --> 01:17:46,400
Speaker 3: in your face. But they seem so our heroes seem

1465
01:17:46,479 --> 01:17:48,719
Speaker 3: to have arrived at a consensus that they can find

1466
01:17:48,760 --> 01:17:52,640
Speaker 3: the Rod of Savril themselves and that they need to

1467
01:17:52,680 --> 01:17:55,360
Speaker 3: do this. And this appeals to Marina because she's going

1468
01:17:55,439 --> 01:17:57,720
Speaker 3: to be able to clear her name, And then the

1469
01:17:57,760 --> 01:18:00,439
Speaker 3: others are tempted by the idea of a fine antial

1470
01:18:00,520 --> 01:18:03,040
Speaker 3: reward from the Empress when they deliver it to her,

1471
01:18:04,000 --> 01:18:06,719
Speaker 3: and there's a lot more banter and open mouth chewing

1472
01:18:06,800 --> 01:18:11,240
Speaker 3: related comedy. I was trying to think. Major takeaways from

1473
01:18:11,240 --> 01:18:16,200
Speaker 3: the scene are, like, there's class antagonism. Marina insults Ridley

1474
01:18:16,240 --> 01:18:19,920
Speaker 3: and Snails for being criminals, and they try to explain

1475
01:18:19,960 --> 01:18:22,599
Speaker 3: to her the concept of honor among thieves. That's where

1476
01:18:22,640 --> 01:18:26,439
Speaker 3: this comes in. She's like, well, commoners really are common

1477
01:18:26,520 --> 01:18:32,320
Speaker 3: it seems, and Elwood wants gold and chicken, and so

1478
01:18:32,520 --> 01:18:37,439
Speaker 3: it becomes clear that Ridley has a crush on Marina.

1479
01:18:37,640 --> 01:18:40,519
Speaker 3: Uh oh, So they kind of even though they argue,

1480
01:18:40,520 --> 01:18:43,519
Speaker 3: they don't part ways, they're kind of drawn together and

1481
01:18:43,560 --> 01:18:45,360
Speaker 3: they figure out how to do some kind of magic

1482
01:18:45,400 --> 01:18:50,840
Speaker 3: teleportation into inside the scroll. I don't remember exactly what's

1483
01:18:50,880 --> 01:18:54,639
Speaker 3: going on there. But also in the scene, Snails meets Norda,

1484
01:18:54,720 --> 01:18:59,839
Speaker 3: the Empress's ranger. You know, she's very very kind of stoic,

1485
01:19:00,200 --> 01:19:03,000
Speaker 3: keeps the cards close to the chest, but he goes

1486
01:19:03,040 --> 01:19:05,040
Speaker 3: up and tries to buy her some wine and like

1487
01:19:05,120 --> 01:19:08,599
Speaker 3: whispers to the bartender, like make it your cheapest wine.

1488
01:19:08,960 --> 01:19:12,559
Speaker 3: But then this scene is ended when Damadar and his

1489
01:19:12,640 --> 01:19:14,160
Speaker 3: soldiers show up, and this is going to be a

1490
01:19:14,160 --> 01:19:16,839
Speaker 3: pattern throughout the film where there's just like a scene

1491
01:19:17,360 --> 01:19:21,400
Speaker 3: that ends because Damodar arrives. That just happens over and

1492
01:19:21,479 --> 01:19:22,120
Speaker 3: over and over.

1493
01:19:22,520 --> 01:19:24,960
Speaker 2: Yes, I mean it's not the worst structure to have,

1494
01:19:25,000 --> 01:19:28,000
Speaker 2: I guess in a story, but but yeah, it is

1495
01:19:28,040 --> 01:19:29,000
Speaker 2: definitely the pattern.

1496
01:19:29,320 --> 01:19:32,960
Speaker 3: Elwood cleverly covers their escape by flipping over a table

1497
01:19:33,080 --> 01:19:36,879
Speaker 3: and shouting bar fight yeah, which and everyone obeys.

1498
01:19:37,120 --> 01:19:40,320
Speaker 2: Yeah.

1499
01:19:40,400 --> 01:19:43,840
Speaker 3: Anyway, later, Ridley and Marina they teleport like back out

1500
01:19:43,840 --> 01:19:46,200
Speaker 3: of the scroll, and now they know what the next

1501
01:19:46,280 --> 01:19:48,519
Speaker 3: leg of the quest is. Somehow they know that they've

1502
01:19:48,560 --> 01:19:51,680
Speaker 3: got to get into the Temple of Dragons so they

1503
01:19:51,680 --> 01:19:53,920
Speaker 3: can get the rod. And to get into the Temple

1504
01:19:53,960 --> 01:19:56,840
Speaker 3: of Dragons, they've got to have a magic artifact called

1505
01:19:56,880 --> 01:20:00,760
Speaker 3: the Eye of the Dragon, which is held by Zilas,

1506
01:20:00,800 --> 01:20:03,400
Speaker 3: the boss of the Thieves Guild in a different city

1507
01:20:03,600 --> 01:20:06,320
Speaker 3: called Antius. You catch all that, you're getting all these details.

1508
01:20:06,400 --> 01:20:08,439
Speaker 2: You supposed to write this on the back of your

1509
01:20:08,520 --> 01:20:10,880
Speaker 2: character sheet and then you can refer back to it

1510
01:20:11,479 --> 01:20:13,400
Speaker 2: and then check them off as you get them. It's like, okay,

1511
01:20:13,400 --> 01:20:14,760
Speaker 2: first we got to get the one and we need

1512
01:20:14,800 --> 01:20:15,120
Speaker 2: to get.

1513
01:20:15,800 --> 01:20:18,439
Speaker 3: Yeah, so that's where they're going next. And then they

1514
01:20:18,439 --> 01:20:21,320
Speaker 3: show like a couple of the nicest looking things in

1515
01:20:21,360 --> 01:20:25,080
Speaker 3: the movie are just random, like zoomed out location shots.

1516
01:20:25,840 --> 01:20:29,040
Speaker 3: So there's one going into going into Antius that doesn't

1517
01:20:29,080 --> 01:20:31,559
Speaker 3: look too bad. It's like, it's kind of interesting. It's

1518
01:20:31,560 --> 01:20:35,479
Speaker 3: like showing these big kind of castle fortified castles up

1519
01:20:35,520 --> 01:20:38,360
Speaker 3: on these spires of rock rising above a valley with

1520
01:20:38,479 --> 01:20:39,880
Speaker 3: bridges spanning out to them.

1521
01:20:40,080 --> 01:20:42,439
Speaker 2: Yeah, it looks really cool. I don't really get the

1522
01:20:42,479 --> 01:20:44,920
Speaker 2: sense that the place we then go to is in

1523
01:20:44,960 --> 01:20:47,880
Speaker 2: fact this location. No, it doesn't look like it, but

1524
01:20:48,000 --> 01:20:49,400
Speaker 2: would have been neat to go there.

1525
01:20:49,880 --> 01:20:52,479
Speaker 3: There's a lot of goofing around when our heroes arrive.

1526
01:20:52,600 --> 01:20:54,920
Speaker 3: They go to the marketplace and they just see weird

1527
01:20:54,960 --> 01:20:57,519
Speaker 3: people and creatures and it's like, oh, I'm you know,

1528
01:20:57,560 --> 01:21:00,479
Speaker 3: I'm getting distracted from our mission by various things.

1529
01:21:00,600 --> 01:21:04,120
Speaker 2: Yeah, our mage momentarily looks at some jewelry that's being

1530
01:21:04,160 --> 01:21:06,120
Speaker 2: sold by a vendor, and the Dwarf says, if I

1531
01:21:06,160 --> 01:21:08,720
Speaker 2: don't get to drink, you don't get to shop. And

1532
01:21:08,760 --> 01:21:10,040
Speaker 2: I'm like, oh my god.

1533
01:21:09,920 --> 01:21:13,400
Speaker 3: Oh boy. And eventually they talk their way into a

1534
01:21:13,439 --> 01:21:16,320
Speaker 3: meeting with Zilas at the Thieves Guild played by Richard

1535
01:21:16,320 --> 01:21:19,840
Speaker 3: O'Brien and Marina when they go in, Marina says to

1536
01:21:20,000 --> 01:21:22,519
Speaker 3: Justin Whalan, She's like, so, this is it, right, everything

1537
01:21:22,520 --> 01:21:26,680
Speaker 3: a thief strives for? And Ridley says, yeah, so what

1538
01:21:26,760 --> 01:21:29,479
Speaker 3: a thief strives for is to live in like a

1539
01:21:29,600 --> 01:21:35,960
Speaker 3: baroque salon with purple walls, gold furniture, rugs and pillows everywhere,

1540
01:21:36,240 --> 01:21:39,599
Speaker 3: and lots of weird people lounging about in various states

1541
01:21:39,600 --> 01:21:41,920
Speaker 3: of dress, and also somebody to feed you grapes.

1542
01:21:42,680 --> 01:21:46,000
Speaker 2: Yeah, and he really Richard O'Brien's character comes off more

1543
01:21:46,040 --> 01:21:48,519
Speaker 2: as like King of the Circus as opposed to like

1544
01:21:48,640 --> 01:21:49,680
Speaker 2: Prince of Thiefs.

1545
01:21:49,960 --> 01:21:54,120
Speaker 3: Yeah, yeah, I agree, there is a showbiz element to

1546
01:21:54,280 --> 01:21:58,160
Speaker 3: him that doesn't quite feel like the thieves Guild.

1547
01:21:58,720 --> 01:22:02,320
Speaker 2: Yeah. Yeah, everything feels a little off with this character

1548
01:22:02,400 --> 01:22:05,360
Speaker 2: and this presentation and this whole scene. Again, none of

1549
01:22:05,360 --> 01:22:07,600
Speaker 2: this is like Richard O'Brien's fault. It's just I don't know,

1550
01:22:07,680 --> 01:22:10,080
Speaker 2: things didn't come together right. And then we also have

1551
01:22:10,120 --> 01:22:14,439
Speaker 2: that weird purple headed guy, yeah, and with the third eye,

1552
01:22:14,520 --> 01:22:18,120
Speaker 2: with the third eye, and also just like some very

1553
01:22:18,760 --> 01:22:23,000
Speaker 2: like strong overacting undertaeth, all that makeup that was just

1554
01:22:23,080 --> 01:22:25,439
Speaker 2: distracting every time he was on the screen, I was

1555
01:22:25,520 --> 01:22:28,200
Speaker 2: just trying to figure out what choices led us to this.

1556
01:22:28,680 --> 01:22:32,080
Speaker 3: So thoughts on Richard O'Brien's performance. He's not hamming it

1557
01:22:32,160 --> 01:22:35,639
Speaker 3: up with quite the rocket fuel intensity of Jeremy Irons,

1558
01:22:35,960 --> 01:22:38,280
Speaker 3: but I think he is having fun with this goofy role.

1559
01:22:38,320 --> 01:22:42,760
Speaker 3: He's sort of a pale, greasy human eel version of

1560
01:22:42,840 --> 01:22:45,640
Speaker 3: Job of the Hut. But he's got, you know this

1561
01:22:45,800 --> 01:22:50,640
Speaker 3: like wide ingratiating smile. He does some casual sexual harassment

1562
01:22:50,680 --> 01:22:53,439
Speaker 3: of Marina. He's a little off and he makes some

1563
01:22:53,520 --> 01:22:58,480
Speaker 3: vaguely threatening comments at them, but then eventually a deal emerges.

1564
01:22:59,040 --> 01:23:03,040
Speaker 3: He's like, Okay, there's a thing called the Antius Guild Maze.

1565
01:23:03,160 --> 01:23:06,120
Speaker 3: It's sort of a deadly obstacle course full of traps,

1566
01:23:06,520 --> 01:23:08,560
Speaker 3: and if Ridley can make it through, he's going to

1567
01:23:08,600 --> 01:23:12,080
Speaker 3: get the Dragon's Eye. And okay, they make a deal.

1568
01:23:12,120 --> 01:23:15,320
Speaker 3: So I'm not going to narrate solving the maze, but anyway,

1569
01:23:15,560 --> 01:23:18,240
Speaker 3: Justin Whalen has to solve and avoid some Indiana Jones

1570
01:23:18,280 --> 01:23:20,280
Speaker 3: traps to get the prize at the end of the course.

1571
01:23:20,920 --> 01:23:24,080
Speaker 2: And I wonder if this maybe British listeners can chime

1572
01:23:24,160 --> 01:23:26,160
Speaker 2: in on this I wonder if this whole thing is

1573
01:23:26,200 --> 01:23:29,760
Speaker 2: a reference to the Crystal Mays game show that I know.

1574
01:23:29,880 --> 01:23:31,920
Speaker 2: Richard O'Brien was one of the hosts of.

1575
01:23:32,439 --> 01:23:34,240
Speaker 3: Oh I know nothing of that.

1576
01:23:34,479 --> 01:23:36,400
Speaker 2: I mean, it's certainly nothing I've ever seen, but I'm

1577
01:23:36,400 --> 01:23:40,000
Speaker 2: just familiar with it from being familiar with Richard O'Brien's

1578
01:23:40,040 --> 01:23:40,880
Speaker 2: work over the years.

1579
01:23:41,360 --> 01:23:43,760
Speaker 3: Now, at the end of this whole sequence, Zilas tries

1580
01:23:43,800 --> 01:23:47,200
Speaker 3: to betray them. So it seems the prize that Justin

1581
01:23:47,240 --> 01:23:49,760
Speaker 3: Whalen retrieved from the end of the maze was the

1582
01:23:49,920 --> 01:23:53,360
Speaker 3: artifact that he wanted, and Xilas has never been able

1583
01:23:53,400 --> 01:23:55,680
Speaker 3: to get this out of the maze before, so he

1584
01:23:55,760 --> 01:23:58,520
Speaker 3: tries to steal it from Ridley, but they are interrupted

1585
01:23:58,560 --> 01:24:02,120
Speaker 3: by the arrival of Damadar once again, once again, and

1586
01:24:02,240 --> 01:24:05,040
Speaker 3: yet again. A big fight breaks out and our heroes

1587
01:24:05,200 --> 01:24:08,760
Speaker 3: except for Marina, are able to escape because of the fight,

1588
01:24:08,840 --> 01:24:21,040
Speaker 3: and Marina gets captured. Later, our heroes regroup in the

1589
01:24:21,040 --> 01:24:24,080
Speaker 3: woods and they are caught by Norda, the ranger, the

1590
01:24:24,160 --> 01:24:27,519
Speaker 3: tracker who works for the Impress. Here's where you get

1591
01:24:27,520 --> 01:24:29,760
Speaker 3: a good look at her armor and it's funny, it's

1592
01:24:29,800 --> 01:24:34,559
Speaker 3: like very reflective. I don't know it's like glinting even

1593
01:24:34,600 --> 01:24:36,440
Speaker 3: in the dark of the forest.

1594
01:24:36,560 --> 01:24:39,920
Speaker 2: Yeah, very form fitting plate armor. And if you've ever

1595
01:24:39,960 --> 01:24:44,320
Speaker 2: seen any fantasy illustration of a female woman in armor,

1596
01:24:44,320 --> 01:24:46,000
Speaker 2: you know exactly what they're going for here.

1597
01:24:46,680 --> 01:24:49,360
Speaker 3: So she's trying to arrest them and take them back,

1598
01:24:49,640 --> 01:24:52,760
Speaker 3: take them and the scroll back to the Empress. But

1599
01:24:53,120 --> 01:24:57,360
Speaker 3: in this encounter instead she learns of the treachery of Profion,

1600
01:24:57,520 --> 01:24:59,880
Speaker 3: and then she reports back to thora Birch via a

1601
01:25:00,120 --> 01:25:04,879
Speaker 3: magical zoom call, and the Empress commands Noorda to instead

1602
01:25:05,200 --> 01:25:07,880
Speaker 3: work together with these people and seek out Damodar and

1603
01:25:07,960 --> 01:25:10,800
Speaker 3: acquire the rod. You must get the rod. Everybody wants

1604
01:25:10,840 --> 01:25:14,160
Speaker 3: the rod. So Noorda is now on the same team

1605
01:25:14,200 --> 01:25:18,320
Speaker 3: as our heroes. Now Marina, of course, has been captured,

1606
01:25:18,320 --> 01:25:21,840
Speaker 3: and there's like an interrogation scene where Bruce Payne comes

1607
01:25:21,840 --> 01:25:25,400
Speaker 3: in with his blue lips and he's like, you know, ooh,

1608
01:25:25,439 --> 01:25:27,920
Speaker 3: I don't necessarily want to overthrow the Empress, but I

1609
01:25:27,960 --> 01:25:30,600
Speaker 3: have no choice. I've got ear snakes. And she's like,

1610
01:25:31,000 --> 01:25:32,960
Speaker 3: He's like, can you help me, and she says, no,

1611
01:25:33,000 --> 01:25:35,640
Speaker 3: I don't know how to help you. And then he

1612
01:25:35,680 --> 01:25:40,240
Speaker 3: gets real mad and he says he's like, well, I

1613
01:25:40,280 --> 01:25:42,559
Speaker 3: can suck the information I need out of your brain

1614
01:25:42,640 --> 01:25:45,240
Speaker 3: with my ear snakes, and then he does it. He

1615
01:25:45,280 --> 01:25:47,479
Speaker 3: gets the info he needs, which I think was basically

1616
01:25:47,560 --> 01:25:50,640
Speaker 3: like where are you going? And then we're back with

1617
01:25:50,640 --> 01:25:53,320
Speaker 3: our heroes in Noorda where they're continuing their journey. We

1618
01:25:53,360 --> 01:25:56,360
Speaker 3: eventually find out they're going to come rescue Marina, and

1619
01:25:56,400 --> 01:25:58,760
Speaker 3: this is where you get that exchange between Norda and

1620
01:25:58,840 --> 01:26:00,840
Speaker 3: Snails where it's like, how old are you? I'm two

1621
01:26:00,920 --> 01:26:01,800
Speaker 3: hundred and thirty four?

1622
01:26:02,240 --> 01:26:04,320
Speaker 2: Yeah, yeah, reasonably good joke there.

1623
01:26:04,920 --> 01:26:07,640
Speaker 3: So it's time for rescue. They get to the fortress

1624
01:26:07,680 --> 01:26:10,200
Speaker 3: where Marina is being held and Snails and Ridley sneak

1625
01:26:10,240 --> 01:26:12,639
Speaker 3: in with the grappling hooks. This is the part where

1626
01:26:12,640 --> 01:26:17,760
Speaker 3: they say Ridley, look beholders, and then there's just like

1627
01:26:17,800 --> 01:26:20,400
Speaker 3: a long shot with like there are some vaguely purple

1628
01:26:20,439 --> 01:26:23,479
Speaker 3: looking things in the distance, like what those the purple

1629
01:26:23,520 --> 01:26:24,960
Speaker 3: blobs way far away?

1630
01:26:25,520 --> 01:26:28,799
Speaker 2: Yeah, I mean it almost feels like like the digital

1631
01:26:28,800 --> 01:26:31,080
Speaker 2: team was like, you know, we can throw some beholders

1632
01:26:31,080 --> 01:26:32,559
Speaker 2: into one of these scenes and you can do some

1633
01:26:32,720 --> 01:26:35,200
Speaker 2: added voiceover about it, and they're like, yeah, let's do it,

1634
01:26:35,960 --> 01:26:40,640
Speaker 2: but it's beholders. If you're not familiar with them listeners.

1635
01:26:40,960 --> 01:26:46,280
Speaker 2: These are hideous, floating head like beings with numerous eyes

1636
01:26:46,320 --> 01:26:52,400
Speaker 2: on stalks and one central eye. They're incredibly dangerous creatures

1637
01:26:52,439 --> 01:26:56,040
Speaker 2: to run into in a Dungeons and Dragons campaign. They're

1638
01:26:56,160 --> 01:27:00,120
Speaker 2: they're very evil. They're like super paranoid. They don't do

1639
01:27:00,200 --> 01:27:04,040
Speaker 2: grunt work guarding castles. There are some other like beholder

1640
01:27:04,080 --> 01:27:06,599
Speaker 2: related creatures, like spectators that I guess you could maybe

1641
01:27:06,760 --> 01:27:09,240
Speaker 2: have in that role, but Beholders are not doing that work.

1642
01:27:09,479 --> 01:27:12,639
Speaker 2: Beholders are not going to just be casually encountered. And

1643
01:27:12,880 --> 01:27:16,000
Speaker 2: more to the point, they're like there's like central Dungeons

1644
01:27:16,040 --> 01:27:19,800
Speaker 2: and Dragons, ip, like, these are things that that that

1645
01:27:19,880 --> 01:27:24,479
Speaker 2: they're almost instantly recognizable as Dungeons and Dragons creations. So

1646
01:27:26,160 --> 01:27:27,800
Speaker 2: kind of I mean, it's kind of neat that they're

1647
01:27:27,840 --> 01:27:30,519
Speaker 2: included as a as an Easter egg here, I guess,

1648
01:27:30,560 --> 01:27:34,639
Speaker 2: But also just they totally don't make the most out

1649
01:27:34,640 --> 01:27:35,719
Speaker 2: of a Beholder appearance.

1650
01:27:36,200 --> 01:27:39,519
Speaker 3: Yeah, nobody fights one. They like throw a bone essentially

1651
01:27:39,560 --> 01:27:42,200
Speaker 3: to make one run off after it, and they and

1652
01:27:42,280 --> 01:27:45,120
Speaker 3: then they sneak in. Then the then our two rogues

1653
01:27:45,240 --> 01:27:50,439
Speaker 3: split up. Snails goes into Damodar's room and he gets

1654
01:27:50,560 --> 01:27:55,120
Speaker 3: he falls into like a pit of quicksand disguised as

1655
01:27:55,120 --> 01:27:56,880
Speaker 3: a rug. Is this something from D and D.

1656
01:27:58,080 --> 01:28:00,639
Speaker 2: It may very well be. I did like the effect here,

1657
01:28:00,680 --> 01:28:03,599
Speaker 2: because oh yeah, this is a practical effect. They did

1658
01:28:03,640 --> 01:28:05,519
Speaker 2: some sort of like a painting on top of a

1659
01:28:05,880 --> 01:28:09,280
Speaker 2: like a movie quicksand situation, and he sinks into it.

1660
01:28:09,760 --> 01:28:12,479
Speaker 3: So I did like this, Yeah, I thought it looked good.

1661
01:28:12,760 --> 01:28:14,759
Speaker 3: He sinks into a bunch of oatmeal and his gross

1662
01:28:14,760 --> 01:28:18,320
Speaker 3: looking and then of course Damadar comes in and attacks Snails.

1663
01:28:18,800 --> 01:28:22,880
Speaker 3: He says something like he's like just like all thieves,

1664
01:28:23,040 --> 01:28:28,240
Speaker 3: always taking things that don't belong to you, Like that's

1665
01:28:28,280 --> 01:28:30,000
Speaker 3: a really good dig against a thief.

1666
01:28:30,400 --> 01:28:32,920
Speaker 2: It's true. It's true though they're always doing it.

1667
01:28:34,920 --> 01:28:37,759
Speaker 3: And they fight, and you know, Snails before he's always

1668
01:28:37,760 --> 01:28:40,240
Speaker 3: being cowardly. He actually gets some good slashes in on

1669
01:28:40,320 --> 01:28:43,800
Speaker 3: Damadar and then he runs away, and then we see

1670
01:28:43,880 --> 01:28:49,080
Speaker 3: Damadar like pursuing him at a steady march like Jason Vorhees. Meanwhile,

1671
01:28:49,200 --> 01:28:52,479
Speaker 3: Ridley rescues Marina from a dungeon. They fight their way out.

1672
01:28:53,000 --> 01:28:56,040
Speaker 3: We get one of those scenes where so many movies

1673
01:28:56,040 --> 01:28:59,200
Speaker 3: in the nineties like this, a scene where the girl

1674
01:28:59,360 --> 01:29:02,240
Speaker 3: hits cigar with a stick and the boy says nice,

1675
01:29:03,920 --> 01:29:07,320
Speaker 3: you know, and then you gotta have that. And then

1676
01:29:07,520 --> 01:29:11,280
Speaker 3: Demodar corners Snails at a dead end on the castle

1677
01:29:11,320 --> 01:29:14,639
Speaker 3: grounds and they fight and it is brutal. Demadar beats

1678
01:29:14,720 --> 01:29:17,760
Speaker 3: him up and like breaks his bones. We hear bones

1679
01:29:17,840 --> 01:29:21,200
Speaker 3: cracking and crunching, and then Ridley and Marina show up

1680
01:29:21,240 --> 01:29:25,360
Speaker 3: to the rescue and I was like, okay, okay, Snail's

1681
01:29:25,400 --> 01:29:27,719
Speaker 3: gonna be okay, They're gonna help him, and then nope,

1682
01:29:27,760 --> 01:29:30,880
Speaker 3: he just gets murdered. Damadar kills him. Like this is

1683
01:29:31,120 --> 01:29:33,960
Speaker 3: off tone something I don't know. It didn't feel like

1684
01:29:34,000 --> 01:29:35,000
Speaker 3: that was supposed to happen.

1685
01:29:36,000 --> 01:29:38,720
Speaker 2: Yeah, yeah, the tone on this choice is a little off,

1686
01:29:38,800 --> 01:29:44,120
Speaker 2: but yeah, kills him dead and you know, ending possibilities

1687
01:29:44,120 --> 01:29:47,719
Speaker 2: aside like he's super dead, he mostly stays dead.

1688
01:29:48,240 --> 01:29:52,160
Speaker 3: Also. Then then Bruce Payne stabs Ridley with the sword,

1689
01:29:52,200 --> 01:29:54,200
Speaker 3: and just when he's about to finish him off, Marina

1690
01:29:54,240 --> 01:29:57,080
Speaker 3: saves the day by zapping Damodar with pink magic and

1691
01:29:57,120 --> 01:29:59,880
Speaker 3: then teleporting them away to somewhere else once again. Yes,

1692
01:30:00,479 --> 01:30:05,360
Speaker 3: so that encounters over rip Snails. There's a brief interlude

1693
01:30:05,360 --> 01:30:07,160
Speaker 3: where we get to see the Empress giving a very

1694
01:30:07,200 --> 01:30:10,920
Speaker 3: wooden speech at the Mage's Council about the people and

1695
01:30:11,200 --> 01:30:14,960
Speaker 3: about Profion's treachery, and she says, she says Profion is

1696
01:30:15,000 --> 01:30:18,320
Speaker 3: trying to take all the power for himself. Profion accuses

1697
01:30:18,400 --> 01:30:21,200
Speaker 3: her of the same. They go back and forth, and

1698
01:30:21,200 --> 01:30:24,920
Speaker 3: it's weird energy because it's like Jeremy Iron's frothing at

1699
01:30:24,920 --> 01:30:27,280
Speaker 3: the mouth versus an introverted teenager.

1700
01:30:27,880 --> 01:30:31,840
Speaker 2: Yeah, this scene just I mean, Jeremy Irons is super

1701
01:30:31,840 --> 01:30:34,680
Speaker 2: amusing as always, but yeah, I just felt bad for

1702
01:30:34,760 --> 01:30:38,040
Speaker 2: thora Birch because like this, it just feels like like

1703
01:30:38,280 --> 01:30:41,639
Speaker 2: two completely different planets of acting going on here, and

1704
01:30:42,360 --> 01:30:43,200
Speaker 2: she does don't look.

1705
01:30:43,040 --> 01:30:47,800
Speaker 3: Comfortable elsewhere our heroes reach their destination. This is the

1706
01:30:47,800 --> 01:30:49,479
Speaker 3: part where I'm saying it's one of the best looking

1707
01:30:49,520 --> 01:30:52,479
Speaker 3: things in the movie. Kind of I'm not sure exactly

1708
01:30:52,479 --> 01:30:53,880
Speaker 3: what this is, but it looks to me like a

1709
01:30:53,920 --> 01:30:57,639
Speaker 3: hand painted background. It's basically, you know, it's like a big,

1710
01:30:57,760 --> 01:31:01,400
Speaker 3: drooping kind of giant tree with a bunch of glowing

1711
01:31:01,479 --> 01:31:05,479
Speaker 3: lights in it. It's a little bit Thomas Kinkaidloathlauri and

1712
01:31:05,520 --> 01:31:08,400
Speaker 3: a little bit Ewok village on indoor, but with some

1713
01:31:08,520 --> 01:31:11,519
Speaker 3: dark magic, and it may be very pretty, but we

1714
01:31:11,560 --> 01:31:14,960
Speaker 3: are not ready to yub nub yet because the quest

1715
01:31:15,040 --> 01:31:18,000
Speaker 3: is not complete. Now. When they arrive, there's an elf

1716
01:31:18,040 --> 01:31:20,880
Speaker 3: played by Tom Baker with short blonde hair, who heals

1717
01:31:21,000 --> 01:31:24,519
Speaker 3: Ridley by zapan him, and then Tom Baker says a

1718
01:31:24,520 --> 01:31:27,639
Speaker 3: bunch of things. He says, he's just kind of talking

1719
01:31:27,680 --> 01:31:30,120
Speaker 3: out of nowhere. I don't think this is prompted by anything.

1720
01:31:30,160 --> 01:31:33,439
Speaker 3: He's like, the Elvin peoples do not require spells to

1721
01:31:33,520 --> 01:31:37,160
Speaker 3: work with magic. You use magic. We are part of it,

1722
01:31:37,520 --> 01:31:42,280
Speaker 3: as are all living creatures, including dragons. Sadly, humans see

1723
01:31:42,320 --> 01:31:47,360
Speaker 3: only their destructive powers. And then Ridley wakes up. He

1724
01:31:47,400 --> 01:31:49,200
Speaker 3: explains he had a bad dream where he saw a

1725
01:31:49,280 --> 01:31:53,439
Speaker 3: dragon being born, and then Tom Baker explains that magic

1726
01:31:53,760 --> 01:31:56,719
Speaker 3: is the life force of nature. He keeps everything around

1727
01:31:56,800 --> 01:32:00,920
Speaker 3: us alive. So if the dragons were to be it

1728
01:32:00,920 --> 01:32:04,200
Speaker 3: would that would destroy the fabric of magic and with it,

1729
01:32:04,640 --> 01:32:07,320
Speaker 3: all life. And at this point I was like, wait,

1730
01:32:07,439 --> 01:32:12,800
Speaker 3: who is this guy? Do they even say who he is?

1731
01:32:13,920 --> 01:32:16,719
Speaker 2: I was just so pleased that Tom Baker had finally

1732
01:32:16,760 --> 01:32:21,439
Speaker 2: shown up and there was some captivating acting happening on

1733
01:32:21,439 --> 01:32:23,880
Speaker 2: the screen. I was like, yeah, I trust you completely.

1734
01:32:24,240 --> 01:32:27,679
Speaker 3: Whoever you are after this, So of course Ridley is healed.

1735
01:32:27,720 --> 01:32:29,559
Speaker 3: And then there's that dark Knight of the Soul scene

1736
01:32:29,640 --> 01:32:32,439
Speaker 3: I mentioned earlier, where like Ridley and Marina are. They're

1737
01:32:32,520 --> 01:32:35,759
Speaker 3: arguing about whether the Impress's plan to help the common

1738
01:32:35,800 --> 01:32:39,639
Speaker 3: people is worth putting faith in, and at one point

1739
01:32:39,720 --> 01:32:46,479
Speaker 3: Marina says that Ridley is what Snails died for. But

1740
01:32:46,600 --> 01:32:49,960
Speaker 3: also Marina says that she now understands why the common people,

1741
01:32:50,000 --> 01:32:54,080
Speaker 3: why non mages are worth fighting for, and then justin

1742
01:32:54,120 --> 01:32:56,920
Speaker 3: Whalen's like, you know, for a mage, you're pretty smart,

1743
01:32:57,000 --> 01:33:00,240
Speaker 3: and then big old kiss. But of course there's a

1744
01:33:00,240 --> 01:33:03,320
Speaker 3: little naked cgi demon looking on the methods there again.

1745
01:33:03,760 --> 01:33:06,799
Speaker 3: So we're gearing up for the final showdown. Our heroes

1746
01:33:06,840 --> 01:33:09,639
Speaker 3: are given some magical weapons. Ridley gets a silver sword

1747
01:33:09,760 --> 01:33:13,000
Speaker 3: and Elf says it will protect him. I do kind

1748
01:33:13,000 --> 01:33:15,559
Speaker 3: of like these costumes we see. I don't know who

1749
01:33:15,600 --> 01:33:17,720
Speaker 3: these elves are. I guess they're like wood elves of

1750
01:33:17,760 --> 01:33:20,679
Speaker 3: some sort, but they look like Texas chainsaw elves. They've

1751
01:33:20,680 --> 01:33:22,280
Speaker 3: got ed gain masks on.

1752
01:33:22,680 --> 01:33:25,080
Speaker 2: Yeah, they look a little disturbing, don't they.

1753
01:33:25,840 --> 01:33:27,639
Speaker 3: This is it's weird that a lot of the best

1754
01:33:27,680 --> 01:33:30,240
Speaker 3: looking visual stuff and I'm not saying it's that great,

1755
01:33:30,360 --> 01:33:32,400
Speaker 3: but the best stuff is like hidden away in the

1756
01:33:32,400 --> 01:33:35,200
Speaker 3: final third of the movie, but we get a scene

1757
01:33:35,200 --> 01:33:37,559
Speaker 3: where Ridley has to go into a dungeon alone to

1758
01:33:37,640 --> 01:33:41,400
Speaker 3: retrieve the rod before Belloc, I mean before Damadhar gets it.

1759
01:33:42,120 --> 01:33:45,280
Speaker 3: And he's tempted by many treasures in the treasure room,

1760
01:33:45,360 --> 01:33:47,839
Speaker 3: but then he thinks better of it before removing anything.

1761
01:33:47,880 --> 01:33:50,519
Speaker 3: So he's like gonna steal some gold, but then he's like, no,

1762
01:33:50,600 --> 01:33:52,200
Speaker 3: I shouldn't do this. He puts it back down and

1763
01:33:52,240 --> 01:33:55,080
Speaker 3: he says, sorry, snails, like snails would have wanted me

1764
01:33:55,120 --> 01:33:59,920
Speaker 3: to steal this. But he talks to a skeleton covereding

1765
01:34:00,120 --> 01:34:05,320
Speaker 3: cobwebs who identifies himself as sav Reel, the creator of

1766
01:34:05,520 --> 01:34:09,679
Speaker 3: the Rod. Oh yeah, now he says, be warned, anyone

1767
01:34:09,720 --> 01:34:12,040
Speaker 3: who wields the power of the Rod must suffer a

1768
01:34:12,080 --> 01:34:16,800
Speaker 3: horrible fate. And I think he says that the rod

1769
01:34:16,880 --> 01:34:21,599
Speaker 3: must be destroyed or it's wielder will be destroyed. And

1770
01:34:21,640 --> 01:34:24,719
Speaker 3: then like absolutely out of nowhere, we just like cut

1771
01:34:24,720 --> 01:34:27,400
Speaker 3: to Jeremy Irons back in the city, back in some

1772
01:34:27,520 --> 01:34:29,840
Speaker 3: doll and he's screeching. The Impress has called out to

1773
01:34:29,960 --> 01:34:33,439
Speaker 3: dragons upon us. We see the dragons flying through the

1774
01:34:33,439 --> 01:34:38,120
Speaker 3: sky and attacking the tower. He's like, destroy them. So

1775
01:34:38,840 --> 01:34:40,880
Speaker 3: here we kind of go into action movie mode. A

1776
01:34:40,960 --> 01:34:43,400
Speaker 3: lot of the rest of the movie is just people

1777
01:34:43,439 --> 01:34:48,280
Speaker 3: fighting cgi dragons, people shooting giant ballistas at them, zapping

1778
01:34:48,320 --> 01:34:53,880
Speaker 3: them with magic, buildings exploding with dragonfire, and dragons versus dragons.

1779
01:34:54,520 --> 01:34:56,760
Speaker 3: There's like one part where a dragon gets zapped and

1780
01:34:56,800 --> 01:34:58,920
Speaker 3: it falls out of the sky and it gets impaled

1781
01:34:58,960 --> 01:35:01,439
Speaker 3: on a spire on top of a tower. The camera

1782
01:35:01,560 --> 01:35:04,680
Speaker 3: really lingers on this and it looks bad. And then

1783
01:35:04,720 --> 01:35:07,519
Speaker 3: of course a bunch of people are fighting for control

1784
01:35:07,640 --> 01:35:10,400
Speaker 3: of the rod. So like Ridley brings it out of

1785
01:35:10,439 --> 01:35:13,599
Speaker 3: the dungeon, then Damodar steals it from Ridley and company.

1786
01:35:13,840 --> 01:35:17,880
Speaker 3: Then Ridley escapes and his friends they portal back to

1787
01:35:17,920 --> 01:35:20,680
Speaker 3: where Damodar is and then they steal the rod back

1788
01:35:20,720 --> 01:35:21,439
Speaker 3: from Profion.

1789
01:35:22,120 --> 01:35:24,759
Speaker 2: Now, is it just one point each time you acquire

1790
01:35:24,800 --> 01:35:27,800
Speaker 2: the rod or how does the scoring work? Here?

1791
01:35:28,360 --> 01:35:31,080
Speaker 3: Very good question, Yeah, how does the experience? They're really

1792
01:35:31,120 --> 01:35:33,639
Speaker 3: racking up a lot of XP at the very end here.

1793
01:35:34,760 --> 01:35:37,720
Speaker 3: And so there's a final fight that's like Ridley versus Profion,

1794
01:35:38,200 --> 01:35:41,600
Speaker 3: And there is a line where Jeremy Irons says, not

1795
01:35:41,760 --> 01:35:47,479
Speaker 3: so talented. Hey, mister Ridley, I think the movie The

1796
01:35:47,560 --> 01:35:50,160
Speaker 3: Talented Mister Ripley had just come out like the year before.

1797
01:35:50,800 --> 01:35:55,799
Speaker 2: Yes, yes, nineteen ninety nine. Yeah, solid movie. Always always

1798
01:35:55,840 --> 01:35:58,200
Speaker 2: a gamble to reference a better movie in your movie.

1799
01:35:58,439 --> 01:36:03,160
Speaker 3: Yeah, so Ridley is. Ridley gets hold of the rod

1800
01:36:03,200 --> 01:36:05,400
Speaker 3: at one point and he's like, Okay, now I'm going

1801
01:36:05,479 --> 01:36:07,640
Speaker 3: to use the rod. That's been the whole point of

1802
01:36:07,680 --> 01:36:09,160
Speaker 3: the story. We got to get the rod so we

1803
01:36:09,160 --> 01:36:11,880
Speaker 3: can use it against Profion. But then he has a

1804
01:36:12,000 --> 01:36:14,680
Speaker 3: tempted by the ring moment. He like holds it up

1805
01:36:14,720 --> 01:36:16,799
Speaker 3: and you can see him grinning with all the power

1806
01:36:16,880 --> 01:36:19,040
Speaker 3: he has. Now it's like flowing into him and he

1807
01:36:19,080 --> 01:36:23,080
Speaker 3: looks at the dragons and you see him realizing what's happening,

1808
01:36:23,120 --> 01:36:26,040
Speaker 3: that he's being tempted, and he turns away from the

1809
01:36:26,080 --> 01:36:28,320
Speaker 3: power of the ring, or from the power of the rod,

1810
01:36:28,720 --> 01:36:31,360
Speaker 3: and he refuses it. He says, I won't become you,

1811
01:36:32,320 --> 01:36:35,600
Speaker 3: referring to Profion, and then he smashes the rod with

1812
01:36:35,680 --> 01:36:36,280
Speaker 3: his sword.

1813
01:36:36,840 --> 01:36:38,720
Speaker 2: Foolishly, I thought he was going to give in for

1814
01:36:38,760 --> 01:36:42,240
Speaker 2: a second there, and I was like this, then, there's

1815
01:36:42,240 --> 01:36:44,719
Speaker 2: more to this kid than I thought. Maybe he's got

1816
01:36:44,720 --> 01:36:46,719
Speaker 2: it in him. No, he doesn't have it in him.

1817
01:36:47,000 --> 01:36:51,280
Speaker 3: So anyway, he smashes it and then they're still fighting Profyon.

1818
01:36:51,360 --> 01:36:54,240
Speaker 3: At one point, Profion summons a I think like a

1819
01:36:54,280 --> 01:36:57,280
Speaker 3: ghost bone dragon to attack the Empress.

1820
01:36:57,840 --> 01:36:59,680
Speaker 2: It just kind of like climbs on her back and

1821
01:36:59,760 --> 01:37:00,800
Speaker 2: makes a squat down.

1822
01:37:01,280 --> 01:37:06,400
Speaker 3: Yeah, but the Empress uses her gold scepter against Profion,

1823
01:37:07,040 --> 01:37:09,680
Speaker 3: and that like makes all the gold dragons that are

1824
01:37:09,680 --> 01:37:12,840
Speaker 3: flying around to come and eat Profeon, like one eats him,

1825
01:37:12,840 --> 01:37:14,719
Speaker 3: like the t rex eats the guy off the toilet.

1826
01:37:15,920 --> 01:37:19,160
Speaker 2: And going back to our earlier discussion, yes, it does

1827
01:37:19,200 --> 01:37:22,720
Speaker 2: make sense that she would command gold dragons instead of

1828
01:37:22,760 --> 01:37:25,559
Speaker 2: red dragons, because gold dragons are good, red dragons are bad.

1829
01:37:26,000 --> 01:37:29,760
Speaker 2: But also, I mean dragons and dungeons. Dragons are not

1830
01:37:29,840 --> 01:37:34,000
Speaker 2: just you know, you know, beasts, they're highly intelligent. So

1831
01:37:34,280 --> 01:37:35,840
Speaker 2: there's a whole discussion we could have here.

1832
01:37:36,160 --> 01:37:38,840
Speaker 3: Yeah, they're treated more like beasts here, like you just

1833
01:37:38,920 --> 01:37:41,080
Speaker 3: kind of bossom around and they do what you say,

1834
01:37:42,000 --> 01:37:44,320
Speaker 3: and then the dragons fly away in the end, and

1835
01:37:44,360 --> 01:37:46,840
Speaker 3: now it seems like, yeah, everything's good, you know, every

1836
01:37:46,960 --> 01:37:50,679
Speaker 3: all the problems are fixed. We get we're like cutting

1837
01:37:50,720 --> 01:37:54,040
Speaker 3: away and then we see we don't even see off screen.

1838
01:37:54,240 --> 01:37:57,240
Speaker 3: We hear the Empress in voiceover saying, this is a

1839
01:37:57,280 --> 01:38:01,519
Speaker 3: direct quote people of ismir, I do declare that you

1840
01:38:01,600 --> 01:38:04,639
Speaker 3: are now all equal. Let the celebration begin.

1841
01:38:07,680 --> 01:38:11,040
Speaker 2: That was always easy. Yeah, and then they were good.

1842
01:38:11,360 --> 01:38:12,879
Speaker 3: Why didn't you say that from the beginning?

1843
01:38:13,040 --> 01:38:18,760
Speaker 2: Yeah, So here's a question. How many levels do you

1844
01:38:18,800 --> 01:38:23,519
Speaker 2: think these characters accrued during the during the run of

1845
01:38:23,560 --> 01:38:26,040
Speaker 2: the film here, because they feel like they start off

1846
01:38:26,080 --> 01:38:31,160
Speaker 2: at like level two and maybe cap it around level three.

1847
01:38:32,120 --> 01:38:34,360
Speaker 2: I don't feel like there's a tremendous amount of growth.

1848
01:38:35,040 --> 01:38:37,160
Speaker 3: That's funny. I was gonna say. I was going to

1849
01:38:37,200 --> 01:38:39,679
Speaker 3: say they spend most of the movie at level two

1850
01:38:39,920 --> 01:38:42,439
Speaker 3: and then in the last ten minutes they go from

1851
01:38:42,520 --> 01:38:43,880
Speaker 3: level two to level nine.

1852
01:38:44,720 --> 01:38:47,120
Speaker 2: Oh yeah, well, I mean they get some high power

1853
01:38:47,240 --> 01:38:48,920
Speaker 2: magical weapons, that's for sure.

1854
01:38:49,400 --> 01:38:53,000
Speaker 3: Do we ever see our magic users learning additional spells?

1855
01:38:53,120 --> 01:38:53,760
Speaker 3: I don't think so.

1856
01:38:54,200 --> 01:38:57,920
Speaker 2: Do we see them throw dust around? Yeah? They play.

1857
01:38:58,160 --> 01:39:00,320
Speaker 2: I mean at least there's some spell components in the mix,

1858
01:39:00,400 --> 01:39:03,000
Speaker 2: but that's about all we see. I don't think we

1859
01:39:03,040 --> 01:39:05,479
Speaker 2: think we see any magical books. Really, do we see

1860
01:39:05,479 --> 01:39:08,680
Speaker 2: anybody reading from a tome of magic or a scroll.

1861
01:39:10,280 --> 01:39:13,360
Speaker 3: Not that I recall, and certainly not to learn a spell.

1862
01:39:13,400 --> 01:39:15,640
Speaker 3: I mean there is a library full of scrolls at

1863
01:39:15,680 --> 01:39:16,160
Speaker 3: the beginning.

1864
01:39:16,240 --> 01:39:18,559
Speaker 2: But yeah, I mean it can be disappointing if the

1865
01:39:18,560 --> 01:39:22,160
Speaker 2: prop department can't really meet your needs on that. I

1866
01:39:22,439 --> 01:39:25,559
Speaker 2: mentioned the color of Magic earlier in the picture, which

1867
01:39:25,680 --> 01:39:28,160
Speaker 2: has a great cast, and of course I love the

1868
01:39:28,160 --> 01:39:31,559
Speaker 2: work of Terry Pratchett. But as memory serves, there's a

1869
01:39:31,640 --> 01:39:36,080
Speaker 2: magical book that shows up in that picture that they

1870
01:39:36,120 --> 01:39:39,280
Speaker 2: just didn't make it look believable enough for me to

1871
01:39:39,360 --> 01:39:42,240
Speaker 2: be like a tome of ancient magic. Like it looks

1872
01:39:42,320 --> 01:39:44,960
Speaker 2: like they were really rushed creating it. So it's kind

1873
01:39:44,960 --> 01:39:46,840
Speaker 2: of a gamble there. You got. The props department has

1874
01:39:46,880 --> 01:39:50,200
Speaker 2: to be able to meet you on any of these requests.

1875
01:39:50,240 --> 01:39:50,639
Speaker 2: For sure.

1876
01:39:50,760 --> 01:39:52,920
Speaker 3: It's just a paperback of how to win friends and

1877
01:39:52,920 --> 01:39:53,759
Speaker 3: influence people.

1878
01:39:54,040 --> 01:39:54,800
Speaker 2: Yeah.

1879
01:39:54,960 --> 01:39:57,120
Speaker 3: Oh, but we also alluded to this. There's some kind

1880
01:39:57,120 --> 01:39:59,000
Speaker 3: of code. There's some kind of happy coda where they

1881
01:39:59,040 --> 01:40:01,599
Speaker 3: go to snails as grave and then they like put

1882
01:40:01,600 --> 01:40:04,559
Speaker 3: the ruby on it and it lights up and then

1883
01:40:04,680 --> 01:40:07,479
Speaker 3: it's like, oh, snails is still alive if we go

1884
01:40:07,560 --> 01:40:10,559
Speaker 3: somewhere else, and then they turn into they turn into

1885
01:40:10,560 --> 01:40:11,880
Speaker 3: magic and fly away.

1886
01:40:11,800 --> 01:40:13,519
Speaker 2: Yeah, I mean it is true. In Dungeons and Dragons,

1887
01:40:13,520 --> 01:40:16,080
Speaker 2: there's always a way to bring a character back. You know,

1888
01:40:16,160 --> 01:40:20,080
Speaker 2: it's a multiverse. There are all sorts of resurrection spells.

1889
01:40:20,800 --> 01:40:23,759
Speaker 2: There's no reason that a fun character needs to stay

1890
01:40:23,800 --> 01:40:29,400
Speaker 2: dead forever. So Snails will return, but actually he won't.

1891
01:40:30,640 --> 01:40:33,240
Speaker 2: But Snails could return. You could all go home and

1892
01:40:33,400 --> 01:40:37,040
Speaker 2: roll up a Snails and tell your dungeon master, Hey,

1893
01:40:37,560 --> 01:40:42,520
Speaker 2: I'm changing characters. Snails from two thousands Dungeons and Dragons

1894
01:40:42,600 --> 01:40:44,000
Speaker 2: is now Injuring our campaign.

1895
01:40:44,479 --> 01:40:51,000
Speaker 3: Our party is Snails Profion. And I was gonna say

1896
01:40:51,080 --> 01:40:53,439
Speaker 3: l would, but like, what's the funny twist on it?

1897
01:40:53,520 --> 01:40:56,559
Speaker 3: Like what if Elwood became a vegetarian and he was

1898
01:40:56,560 --> 01:40:59,000
Speaker 3: always just getting say ten in his beard?

1899
01:40:59,320 --> 01:41:03,920
Speaker 2: Yeah, yeah, say tan and beats. Yeah. These are good

1900
01:41:04,000 --> 01:41:05,960
Speaker 2: choices to have. You know, you need choices like this

1901
01:41:06,080 --> 01:41:10,479
Speaker 2: for your character. It gives you some stick to fall

1902
01:41:10,520 --> 01:41:13,360
Speaker 2: back on during all the small moments of a campaign.

1903
01:41:14,120 --> 01:41:16,640
Speaker 3: All right, Is that all we've got on Dungeons and

1904
01:41:16,680 --> 01:41:18,360
Speaker 3: Dragons two thousand for now?

1905
01:41:18,520 --> 01:41:21,320
Speaker 2: I mean there's so much more we could say. Every

1906
01:41:21,400 --> 01:41:25,960
Speaker 2: scene with Jeremy Irons is like a masterclass in overacting

1907
01:41:27,040 --> 01:41:31,080
Speaker 2: and hamming it up. There are so many weird choices,

1908
01:41:31,720 --> 01:41:35,080
Speaker 2: digital effects that don't really come together, and yet at

1909
01:41:35,120 --> 01:41:39,160
Speaker 2: the same time some admirable practical effects, some admirable sets,

1910
01:41:39,160 --> 01:41:43,800
Speaker 2: and certainly some really cool interior locations. I would says

1911
01:41:44,640 --> 01:41:46,759
Speaker 2: this is not a movie for everyone. I'm not encouraging

1912
01:41:46,800 --> 01:41:50,719
Speaker 2: everyone to go out and watch this movie in its entirety,

1913
01:41:51,000 --> 01:41:54,040
Speaker 2: but everyone must see the first fifteen minutes. The Emperor

1914
01:41:54,080 --> 01:41:59,200
Speaker 2: has decreed, all right. So that is two thousands Dungeons

1915
01:41:59,240 --> 01:42:02,599
Speaker 2: and Dragon. I hope you enjoyed it. I think it

1916
01:42:02,600 --> 01:42:05,280
Speaker 2: was a solid choice for our two hundred film selection

1917
01:42:05,400 --> 01:42:08,160
Speaker 2: here on Weird House Cinema. So now we just have

1918
01:42:08,240 --> 01:42:11,439
Speaker 2: to chug on and eventually start thinking about the three

1919
01:42:11,560 --> 01:42:13,080
Speaker 2: hundredth film.

1920
01:42:13,360 --> 01:42:15,240
Speaker 3: We will not do the movie three hundreds.

1921
01:42:15,560 --> 01:42:19,000
Speaker 2: We will not do three hundred. It's true, all right.

1922
01:42:19,479 --> 01:42:21,160
Speaker 2: So we're going to go and close this episode out,

1923
01:42:21,160 --> 01:42:22,680
Speaker 2: but we'd love to hear from everyone out there. We

1924
01:42:22,760 --> 01:42:25,479
Speaker 2: know that there are multiple listeners who are Dungeons and

1925
01:42:25,520 --> 01:42:29,479
Speaker 2: Dragons enthusiasts, and you may have additional insight on what's

1926
01:42:29,520 --> 01:42:33,519
Speaker 2: happening and what's not happening in this film. Likewise, if

1927
01:42:33,520 --> 01:42:36,200
Speaker 2: you have thoughts on anything we've referenced in passing different

1928
01:42:36,560 --> 01:42:42,080
Speaker 2: Dungeons and Dragons locations, Dungeons and Dragons novels. What are

1929
01:42:42,120 --> 01:42:45,000
Speaker 2: your favorites? Because I really haven't geez, I don't know

1930
01:42:45,000 --> 01:42:48,160
Speaker 2: that I've ever read one myself. I'm familiar with them,

1931
01:42:48,200 --> 01:42:50,760
Speaker 2: but I never picked one up. So if I were

1932
01:42:50,800 --> 01:42:54,160
Speaker 2: to pick one up, which one would it be? These

1933
01:42:54,240 --> 01:42:57,439
Speaker 2: questions and more write in with your answers. Just a

1934
01:42:57,439 --> 01:42:59,720
Speaker 2: reminder that Stuff to Blow Your Mind is primarily a

1935
01:42:59,760 --> 01:43:02,840
Speaker 2: sign and culture podcast, with core episodes in the Stuff

1936
01:43:02,840 --> 01:43:06,840
Speaker 2: to Blow Your Mind podcast feed on Thursdays and Tuesdays,

1937
01:43:07,280 --> 01:43:09,280
Speaker 2: and then on Wednesdays we do a short form episode,

1938
01:43:09,280 --> 01:43:11,760
Speaker 2: but on Fridays we set aside most serious concerns to

1939
01:43:11,800 --> 01:43:14,360
Speaker 2: just talk about a weird film here on weird House Cinema.

1940
01:43:14,400 --> 01:43:15,479
Speaker 2: If you want to see a list of all the

1941
01:43:15,520 --> 01:43:18,519
Speaker 2: films we've covered over the years, go to letterboxed dot com.

1942
01:43:18,560 --> 01:43:21,320
Speaker 2: You'll find us there. Our username is weird house and

1943
01:43:21,360 --> 01:43:23,280
Speaker 2: we have a nice list of everything. We've covered all

1944
01:43:23,320 --> 01:43:25,800
Speaker 2: two hundred film selections, and we're going to start looking

1945
01:43:25,800 --> 01:43:27,680
Speaker 2: ahead at the future. Sometimes you can peek ahead and

1946
01:43:27,760 --> 01:43:29,800
Speaker 2: see what's coming up the following week.

1947
01:43:30,120 --> 01:43:33,920
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1948
01:43:34,160 --> 01:43:35,640
Speaker 3: If you would like to get in touch with us

1949
01:43:35,640 --> 01:43:38,080
Speaker 3: with feedback on this episode or any other, to suggest

1950
01:43:38,120 --> 01:43:40,120
Speaker 3: a topic for the future, or just to say hello,

1951
01:43:40,240 --> 01:43:42,840
Speaker 3: you can email us at contact at stuff to Blow

1952
01:43:42,840 --> 01:43:50,480
Speaker 3: your Mind dot com.

1953
01:43:50,560 --> 01:43:53,519
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1954
01:43:53,600 --> 01:43:56,400
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1955
01:43:56,560 --> 01:43:59,560
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.